Event

Rep Clock

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Schedules are for Wed/25-Tues/31 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ART DECO MOVIE THEATER 2700 Saratoga, Alameda; www.baicff.com. $10-20. "Bay Area International Children’s Film Festival," family films from around the world, Sat-Sun, 10am-5:30pm.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $15-20. "Opera and Ballet at the Balboa Theatre:" Caligula, from the Paris Opera Ballet, Wed, 7:30; Cendrillon, from the Royal Opera House, Sat-Sun, 10am. "Jazz and Film:" A Great Day in Harlem (Bach, 1994), with live performance by Jimmy Ryan’s Balboa Be Bop Band, Sun, 5:30.

BERKELEY FELLOWSHIP OF UNITARIAN UNIVERSALISTS 1924 Cedar, Berk; www.bfuu.org. Hypothesis (Smith), followed by a discussion about 9/11 truth, Thurs, 7.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. "Noir City X:" •House of Bamboo (Fuller, 1955), Wed, 7:30, and Underworld USA (Fuller, 1961), Wed, 9:20; •Naked Alibi (Hopper, 1954), Thurs, 7:30, and Pickup (Haas, 1951), Thurs, 9:20; •Thieves’ Highway (Dassin, 1949), Fri, 7:30, and The Breaking Point (Curtiz, 1950), Fri, 9:30; •Three Strangers (Negulesco, 1946), Sat, 1, 5, 9, and The Great Gatsby (Nugent, 1949), Sat, 3, 7; Roadhouse Nights (Henley, 1930), Sun, noon; The Maltese Falcon (Del Ruth, 1931), Sun, 1:20; City Streets (Mamoulian, 1932), Sun, 3; Mr. Dynamite (Crosland, 1935), Sun, 4:45; The Glass Key (Heisler, 1942), Sun, 7; The Maltese Falcon (Huston, 1941), Sun, 9. Advance tickets (double features, $10-15) and more info at www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. "Rafael Film Club:" Complicated Women (Munro Neely, 2003), Thurs, 1. With author and film critic Mick LaSalle. Pina (Wenders, 2011), Jan 27-Feb 2, call for times. Joffrey: Mavericks of Dance (Hercules, 2011), Sat, 10:30am.

JEWISH COMMUNITY CENTER OF THE EAST BAY 1414 Walnut, Berk; (510) 848-0237, www.brownpapertickets.com. $6-8. "San Francisco Jewish Film Festival Presents:" 77 Steps (Mara’ana, 2010), Thurs, 7:30.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. "Film 50: History of Film, Cinema, and the Other Arts:" "Back to the Beginning: From the Cinema of Attractions to Narrative Illusionism," with lecture by Marilyn Fabe, Wed, 3:10. This event, $5.50-11.50. "Documentary Voices:" David Holzman’s Diary (McBride, 1968), Wed, 7. "African Film Festival 2012:" Medicine for Melancholy (Jenkins, 2007), with director Barry Jenkins in person, Thurs, 7; A Screaming Man (Haroun, 2010), Sun, 4:30. "Howard Hawks: The Measure of Man:" Paid to Love (1927), Fri, 7; Scarface (1932), Tues, 7. "Henri-Georges Clouzot: The Cinema of Disenchantment:" Diabolique (1955), Fri, 8:40; The Spies (1958), Sun, 6:30. "Austere Perfectionism: The Films of Robert Bresson:" Pickpocket (1959), Sat, 6:30; Diary of a Country Priest (1950), Sat, 8:10.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. Warren Ellis: Captured Ghosts (Meaney, 2011), Wed, 7:15, 9. The Upsetter: The Life and Music of Lee "Scratch" Perry (Higbee and Bhala Lough, 2011), Thurs, 7:30, 9:30. Sing Your Song (Rostock, 2011), Jan 27-Feb 2, 6:45, 8:45 (also Sat-Sun, 2:45, 4:45).

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. Fullmetal Alchemist: The Sacred Star of Milos (Murata, 2011), Wed-Thurs, 2, 4:30, 7, 9:15. Sleeping Beauty (Leigh, 2011), Jan 27-Feb 2, 2, 4:30, 7, 9:15 (no 7pm show Mon/30).

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. "British Arrow Awards: Best British Television Commercials of 2011," Thurs-Sun, 2, 4, 6, 8. The House by the Cemetery (Fulci, 1981), Fri-Sat, 10.

ZINC DETAILS 1905 Fillmore, SF; rsvp@zincdetails.com. Free. Eames: The Architect and the Painter (Cohn and Jersey, 2011), Wed, 6. With a discussion about the Eames with former Dwell editor Sam Grawe.

Stage Listings

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Stage listings are compiled by Guardian staff. Performance times may change; call venues to confirm. Reviewers are Robert Avila, Rita Felciano, and Nicole Gluckstern. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

THEATER

OPENING

Vice Palace: The Last Cockettes Musical Thrillpeddlers’ Hypnodrome, 575 10th St, SF; (415) 377-4202, www.thrillpeddlers.com. $30-35. Opens Fri/27, 8pm. Runs Fri-Sat, 8pm. Through March 3. Thrillpeddlers revives the Cockettes’ 1972 musical extravaganza.

BAY AREA

Arms and the Man Lesher Center for the Arts, Margaret Lesher Theater, 1601 Civic, Walnut Creek; (925) 943-7469, www.centerrep.org. $38-43. Previews Fri/27-Sat/28, 8pm; Sun/29, 2:30pm. Opens Tues/31, 7:30pm. Runs Wed, 7:30pm; Thurs-Sat, 8pm; Sun, 2:30pm. Through Feb 25. Center REPertory Company presents George Bernard Shaw’s classic romantic comedy.

Body Awareness Aurora Theatre, 2081 Addison, Berk; (510) 843-4822, www.auroratheatre.org. $34-55. Previews Fri/28-Sat/28 and Feb 1, 8pm; Sun/29, 2pm; Tues/31, 7pm. Opens Feb 2, 8pm. Runs Tues, 7pm; Wed-Sat, 8pm; Sun, 2 and 7pm. Through March 4. Aurora Theatre performs Annie Baker’s comedy.

ONGOING

Cabaret Young Performers Theatre, Fort Mason Center, Bldc C, Room 300, Marina at Laguna, SF; (415) 381-1638, cabaretsf.wordpress.com. $25-45. Thurs-Sat, 8pm; Sun, 7pm. Through Feb 19. Shakespeare at Stinson and Independent Cabaret Productions perform the Kander and Ebb classic in an intimate setting.

Food Stories: Pleasure is Pleasure Z Space, Theater Artaud, 450 Florida, SF; www.brownpapertickets.com. $20-55. Wed-Thurs, 7pm; Fri-Sat, 8pm; Sun, 2pm. Through Feb 5. Word for Word presents performances of short stories by T.C. Boyle and Alice McDermott.

Future Motive Power Old Mint, 88 Fifth St, SF; www.mugwumpin.org. $15-30. Fri/27-Sun/29, 8pm. Mugwumpin takes on the life of Nikola Tesla in its latest performance piece.

*Humor Abuse American Conservatory Theater, 415 Geary, SF; (415) 749-2228, www.act-sf.org. $10-85. Tues-Sat, 8pm (also Wed and Sat, 2pm); Sun, 2pm. Through Feb 5. “This is a show about clowning,” Lorenzo Pisoni advises his audience at the outset of his graceful solo performance, “and I’m the straight man.” It’s a funny line, actually — funny because it’s true, and not true. In the deft routines that follow, as well as in the snapshots cast on the atmospherically dingy curtain hung center stage, the career of this Pickle Family Circus brat (already alone in the spotlight by age two) never veers far from the shadow of his father. That fact remains central to the winning comedy and wistful reflection in Humor Abuse. Reared in the commotion and commitment of the famed San Francisco circus founded by his parents Larry Pisoni and Peggy Snider, Lorenzo had a childhood both enviable and unusually challenging. The fact that he shares his name with both a grandfather and his dad’s famous clown persona is instructive. His trials and his triumphs are further conflated — along with his father’s —in such elegant catastrophes as falling down a long flight of stairs. And in his good-humored and honest reflections, the existential poignancy at the heart of such artful buffoonery begins to rise to the surface. The spoken narrative feels a little pinched or abbreviated, in truth, but there are no shortcuts to the skill or wider perspective inculcated by the charming Pisoni and (under direction of co-creator Erica Schmidt) set enthralling in motion. (Avila)

*New Fire: To Put Things Right Again Brava Theater, 2781 24th St, SF; (415) 647-2822, www.brava.org. $10-30. Thurs/26-Sat/28, 8pm; Sun/29, 3pm. You hear a lot of lip service these days to “community-building,” even when that community might represent the merest sliver, unable to reach out or expand beyond its own narrow parameters. That is not the kind of community playwright Cherríe Moraga is interested in paying lip service to, and her latest work New Fire reaches out in all possible directions, most notably digging deep into sacred spaces frequently left out of the conversation altogether. Structured not as a conventional (by Western standards) play, but as a healing ceremony centered around the story’s single protagonist, Vero (Dena Martinez), Celia Herrera Rodriguez’ staging and design blend seamlessly with Alleluia Panis’ ecstatic choreography to create a world where the sacred and the mundane coexist, almost unremarked, but certainly remarkably. Combining new media such as video by Emily Encina, with ancient ritual, the most electrifying moments are those rendered wholly without spoken words — the steady heartbeat of percussion, the ululation of Charlene O’Rourke’s magnificent chanting, the stealthy creeping of spirit figures whose faces are hidden by the wide brims of vibrantly painted hats. But don’t go in expecting a woo-woo, earth mother love fest: New Fire, is heavy with dark moments. But as El Caminante (Robert Owens-Greygrass) points out, such darkness can be beautiful too. (Gluckstern)

Not Getting Any Younger Marsh San Francisco, Studio Theater, 1062 Valencia, SF; (415) 826-5750, www.themarsh.org. $15-50. Fri, 8pm; Sat, 5 and 8:30pm. Extended through Feb 25. Marga Gomez is back at the Marsh, a couple of too-brief decades after inaugurating the theater’s new stage with her first solo show — an apt setting, in other words, for the writer-performer’s latest monologue, a reflection on the inevitable process of aging for a Latina lesbian comedian and artist who still hangs at Starbucks and can’t be trusted with the details of her own Wikipedia entry. If the thought of someone as perennially irreverent, insouciant, and appealingly immature as Gomez makes you depressed, the show is, strangely enough, the best antidote. (Avila)

Olivia’s Kitchen Exit Theatre, 156 Eddy, SF; www.generationtheatre.com. $20-40. Fri-Sat, 8pm; Sun, 3pm. Through Feb 19. GenerationTheatre offers this “remix” of Shakespeare’s Twelfth Night.

“SF Sketchfest” Various venues, SF; www.sfsketchfest.com. $10-75. Through Feb 4. The 11th San Francisco Comedy Festival invades 15 venues in 17 days with local and celebrity-packed (and local-celebrity-packed) performances, film events, improv shows, and more.

Waiting for Godot Royce Gallery, 2901 Mariposa, SF; (415) 336-3522, www.tidestheatre.org. $20-38. Thurs-Sat, 8pm. Through Feb 18. Tides Theatre Company debuts with a bold interpretation of the Beckett classic.

BAY AREA

Ghost Light Berkeley Repertory Theatre, Thrust Stage, 2025 Addison, Berk; (510) 647-2949, www.berkeleyrep.org. $14.50-73. Tues, Thurs-Sat, 8pm (also Sat and Feb 16, 2pm); Wed and Sun, 7pm (also Sun, 2pm). Through Feb 19. Berkeley Rep performs Tony Taccone’s world-premiere play about George Moscone’s assassination, directed by the late San Francisco mayor’s son, Jonathan Moscone.

*The Kipling Hotel: True Misadventures of the Electric Pink ’80s New venue: Marsh Berkeley, 2120 Allston, Berk; (415) 282-3055, www.themarsh.org. $20-50. Sat, 8:30pm; Sun, 7pm. Through Feb 12. This new autobiographical solo show by Don Reed, writer-performer of the fine and long-running East 14th, is another slice of the artist’s journey from 1970s Oakland ghetto to comedy-circuit respectability — here via a partial debate-scholarship to UCLA. The titular Los Angeles residency hotel was where Reed lived and worked for a time in the 1980s while attending university. It’s also a rich mine of memory and material for this physically protean and charismatic comic actor, who sails through two acts of often hilarious, sometimes touching vignettes loosely structured around his time on the hotel’s young wait staff, which catered to the needs of elderly patrons who might need conversation as much as breakfast. On opening night, the episodic narrative seemed to pass through several endings before settling on one whose tidy moral was delivered with too heavy a hand, but if the piece runs a little long, it’s only the last 20 minutes that noticeably meanders. And even with some awkward bumps along the way, it’s never a dull thing watching Reed work. (Avila)

The Pitmen Painters TheatreWorks at Mountain View Center for the Arts, 500 Castro, SF; (650) 463-1960, www.theatreworks.org. $19-69. Tues-Wed, 7:30pm; Thurs-Sat, 8pm (also Sat, 2pm); Sun, 2 and 7pm. Through Feb 12. TheatreWorks performs a new comedy from the author of Billy Elliot about a group of British miners who become art world sensations.

The World’s Funniest Bubble Show Marsh Berkeley, TheaterStage, 2120 Allston, Berk; (415) 826-5750, www.themarsh.org. $8-50. Extended run: Feb 12, 19, 26, March 11, and 18, 11am. Louis “The Amazing Bubble Man” Pearl returns with this kid-friendly, bubble-tastic comedy.

PERFORMANCE/DANCE

“The Best of Times” Alcazar Theatre, 650 Geary, SF; www.42ndstmoon.org. Thurs/26, 7pm. $70. 42nd Street Moon salutes Tony-winning Broadway composer-lyricist Jerry Herman.

“The Eric Show” Milk Bar, 1840 Haight, SF; www.milksf.com. Tues, 8pm (ongoing). $5. Local comedians perform with host Eric Barry.

“Father Panic!” Garage, 975 Howard, SF; (415) 518-1517, www.975howard.com. Fri/27-Sat/28, 8pm, $15. Dan Carbone’s latest autobiographical performance piece.

“Hidden Classics Reading Series” Exit on Taylor, 277 Taylor, SF; www.cuttingball.com. Sun/29, 3pm. Free. Cutting Ball Theater presents two August Strindberg readings: Miss Julie and A Dream Play.

“Loved By You: A Self-Love Story” TJT, 470 Florida, SF; www.brownpapertickets.com. Sat/28-Sun/29, 8pm. $15. Lori Shantzis performs her solo show about self-acceptance.

“Musicircus” Walt Disney Family Museum, 104 Montgomery, the Presidio, SF; www.calartsf.net. Sat/28, 1:30-5:30pm and 6-9pm. Free. CalArts Alumni and the Walt Disney Family Museum present this marathon performance event and showcase concert.

Paufve Dance Dance Mission Theater, 3316 24th St, SF; www.brownpapertickets.com. Fri/27-Sat/28, 8pm; Sun/29, 7pm. $15-18. The company premieres the dance theater work So I Married Abraham Lincoln.

“The Rivalry” Kanbar Hall, Jewish Community Center of San Francisco, 3200 California, SF; www.jccsf.org. Sun/29, 4pm. $42-55. LA Theaterworks presents this performance of Norman Corwin’s depiction of the Lincoln-Douglas debates.

“The XXX Factor” Eureka Theater, 215 Jackson, SF; www.ticketweb.com. Tues/31, 8pm, $15. Comedy Noir performs a new show satirizing televised talent contests (with “mentors” Sarah Palin and John Wayne Gacy, among others).

BAY AREA

Company C Contemporary Ballet Castro Valley Center for the Arts, 19501 Redwood, Castro Valley; (510) 889-8961. Sat/28, 7:30pm and Sun/29, 2pm. $15-27. Also Feb 17, 8pm; Feb 18, 6:30pm (gala benefit); and Feb 19, 3pm, $23-175. Yerba Buena Center for the Arts, 701 Mission, SF; (415) 978-2787. The company opens its 10th anniversary season.

“The Gondoliers” Lesher Center for the Arts, 1601 Civic, Walnut Creek; www.lamplighters.org. Fri/27-Sat/28, 8pm (also Sat/28, 2pm); Sun/29, 2pm. $20-53. Lamplighters Music Theatre performs the Gilbert and Sullivan operetta.

“Lycanthropos: The Werewolf in Story and Song” Parish Hall, St. Alban’s Church, 1501 Washington, Albany; (510) 528-1685. Sun/29, 7pm. $25-30. Tim Rayborn uses spoken word, song, and exotic instruments to illuminate the werewolf legend, from the Middle Ages to the Renaissance.

“Saturday Night Special: Broken Resolutions” Nick’s Lounge, 3218 Adeline, Berk; www.nickslounge.com. Sat/28, 7-9:30pm. Free. Open mic featuring LJ Moore and Chanel Timmons.

“What’s Strunk and White, and Read All Over?: The Elements of Style” Pegasus Books Solano, 1855 Solano, Berk; www.1stpersonsingular.com. Wed/25, 7:30pm. Free. Calling all copy editors: First Person Singular dramatizes The Elements of Style.

On the Cheap Listings

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Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 25

Bring Me Men: Military Masculinity and the Benign Facade of American Empire author presentation University Press Books, 2430 Bancroft Way, Berk. (510) 548-0585, www.universitypressbooks.com. 6-7:30 p.m., free. Author Aaron Belkin explores the hyper-masculine construction of our armed forces, and the glaring contradictions that lie therein.

Ryan Boudinot’s Blueprints of the Afterlife reading Booksmith, 1644 Haight, SF. (415) 863-8688, www.booksmith.com. 7:30 p.m., free. The apocalypse is undeniably white-like-fire hot these days, what with it being about to happen in 11 months and all. Author Ryan Boudinot is happy to get your cognitive juices flowing on the matter – his new book Blueprints of the Afterlife takes place during the days when glaciers are ravaging the United States’ landscape and human beings’ nervous systems can be hacked.

THURSDAY 26

Author reading: James Martel on Walter Benjamin’s anti-sovereignty theories University Press Books, 2430 Bancroft Way, Berk. (510) 548-0585, www.universitypressbooks.com. 6-7:30 p.m., free. SF State associate professor of political science Martel has written a pair of books that look to dismantle the false choice we are presented between anarchy and sovereignty. His solution to these limited options: the divine game-changing forces presented in the works of German-Jewish intellectual Walter Benjamin.

“Picturing the Contemporary Arts in Ms. Magazine: A Chronological Journey” art exhibit Yerba Buena Center for the Arts, 701 Mission, SF. (415) 978-2700, www.ybca.org. Through Sun/29. Thu-Sat, noon-8 p.m.; Sun, noon-6 p.m. Since founding editor Gloria Steinham’s talk at Stanford University today is sold out, get your 40 years of Ms. Magazine fix at this free art exhibit, for which YBCA has bedecked its lobby with iconic images from the last four decades of the seminal feminist publication.

“Sex Work and Consent” conversation Center for Sex and Culture, 1349 Mission, SF. www.sexandculture.org. 8 p.m., $10 suggested, no one turned away for lack of funds. Sex workers and community leaders will gather round to discuss consent-rape culture in our society – and there will be a Good Vibrations swag raffle to boot.

Lily Renée, Escape Artist: From Holocaust Survivor to Comic Book Pioneer author presentation Cartoon Art Museum, 655 Mission, SF. (415) CAR-TOON, www.cartoonart.org. 7-9 p.m., free. Trina Robbins wrote (and drew) the book on Renée, a 14-year-old Austrian Jewish girl who fled the Nazis, only to become a dynamic member of the 1960s underground comic scene.

SATURDAY 28

“The Wisdom of Compassion: Teachings with Patrick Gaffney” Rigpa San Francisco Center, 111 New Montgomery, SF. (866) 200-5876, www.rigpabayarea.org. 10 a.m.-5 p.m., free-$50 sliding scale. Sogyal Rinpoche’s most senior student (co-editor of Rinpoche’s The Tibetan Book of Living and Dying) teaches on how to get meditation and compassion into your life in a meaningful way.

“All You Can Dance For $5” Alonzo King LINES dance marathon Alonzo King LINES Dance Center, 26 Seventh St., SF. (415) 863-3040 x221, www.linesballet.org. 1-5 p.m., $5. Never mind lapsed New Year’s resolutions: this afternoon-long event will get you sweating without all that silly gym-angst (or sign-up fees). The well-loved dance company is offering a sampling of its classes – from hip-hop and ballet, to modern and jazz.

Treasure Island Flea Market One Avenue of the Palms, Treasure Island. www.treasureislandflea.com. Also Sun/29. 10 a.m.- 5 p.m., free. Though it’s moved indoors until March, Treasure Island’s oasis of all things old and unique continues to be your go-to monthly spot for quirky home furnishings, bike, clothes, and all kinds of more.

Golden Gate Kennel Club Dog Show Cow Palace, 2600 Geneva, Daly City. www.goldengatekc.com. Also Sun/29. 8:30 a.m.-5 p.m., $12. A plethora of historic events fill the Cow Palace each year — the Grand National Rodeo, weed expos galore, Cirque Du Soliel – but few feature arenas full of fluffy yappers. This dog show is over 100 years old, but still has new tricks. Among the breeds that will be featured for the first time in 2012 are the Swedish valihund and the cane corso.

Good Vibrations Lakeshore Avenue opening party Good Vibrations, 3219 Lakeshore, Oakl. www.goodvibes.com. 6-9 p.m., free. If the born-in-SF sex toy brand’s continued world domination — and new Oakland store — isn’t enough cause for celebration, know that Kani Burress of Real Housewives of Atlanta will be in attendance today, hyping her toy line Bedroom Kandi.

SUNDAY 29

Oakland Museum of California’s Lunar New Year celebration Oakland Museum of California, 1000 Oak, Oakl. (510) 238-2200, www.museumca.org. Noon-4:30 p.m., free with $12 museum admission. Learn to pound mochi, take in Korean drumming and storytelling performances, and get educated on the meaning of Fred Korematsu Day through a presentation by the daughter of the civil rights activist who fled when the US government ordered all Japanese-Americans placed in internment camps during WWII. It’s all here at this event to celebrate the entering of (the year of) the dragon.

MONDAY 30

[SSEX BBOX] sexuality documentary premiere Center For Sex and Culture, 1349 Mission, SF. www.sexandculture.org. 7:30-10 p.m., free. Witness the culmination of this international film project’s world travels, in which its team talked about living and loving outside the box with sex educators, writers, and just plain old hotties. You’ll have the opportunity to meet the director and crew after the film’s screening.

Live Shots: The old-timey escapades of the Edwardian Ball

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The Edwardian Ball, thrown by Rosin Coven and the Vau de Vire Society, never fails to amaze — and absinthe-addled though we were, we managed to take in all the sights, from petticoats a-plenty to splendid corsetry to handsome haberdashery from an era gone by.

Despite the fact that stunning vintage apparel has come to be expected, the Edward Gorey-inspired event — now in its 12th year — is anything but old hat.

Between the World’s Faire, the Vendor Bazaar, and the ball itself, organizers of the old-timey escapade had plenty to add: midway games, an artist lineup that included a neo-Victorian hip-hop time-traveler and his dancing gorilla, a carousel of bikes by Cyclicide, Gorey-themed puppetry, plus freakshow performers with tricks that were anything but same-old. Forget slipping doller bills into your sideshow gal’s panties, and think staple-gunning fivers to her tongue. Strictly period? Not exactly. But lots of fun — for the audience, at least.

 

Local musicians reinterpret Nick Drake’s “Pink Moon” at the Rickshaw Stop

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Had you been skeptical about the “UnderCover Presents: Nick Drake’s Pink Moon” event Sunday night at the Rickshaw Stop you wouldn’t have been alone. It had the potential to be disastrous. Coordinating the sound alone must have posed a considerable challenge. How do you get 11 eclectic local bands — 50 performers each with specific sound needs — to play one song from one album without frazzling intervals between each performance and each set up? And then of course there’s the album to consider, Nick Drake’s Pink Moon. How can the bands perform the covers without butchering the album?
 
In the case of coordination and sound, it was a flawlessly organized UnderCover event, co-produced by Faultline Studios. Band set ups were seamless, the sound was first-rate, and the visuals by Joe Case that projected behind the stage were diverting. There were also pre-recorded interviews with band members shown before each performance, which made for an altogether different concert experience. With regards to Pink Moon, if you had hoped to hear covers that faithfully honored the songwriter’s final album, the event was likely a let down, but not a catastrophe.
 
Pink Moon is an odd choice for this kind of an event. For one, it’s terse — with only 11 songs, it clocks in at 28 minutes, and so each band is on stage for only a moment. It’s essentially a bleak piece of songwriting as well, recorded with only guitar and vocals, aside from the light piano on the title track. As John Wood, who produced Pink Moon said in a 1979 radio interview, “[Drake] was very determined to make this very stark, bare record and he definitely wanted it to be him more than anything.” However, the event’s music director Darren Johnston saw this as an invitation. He in fact chose the album because of its sparseness and the endless ways to approach it. “It’s not even my favorite Nick Drake album,” he said in one of the pre-recorded interviews.
 
It’s worth noting that many of the bands did not seem to be Drake aficionados, nor did they pretend to be. A series of pre-recorded interviews showed that they were unaware that a “pink moon” or “bloody moon” represents imminent disaster in other cultures, and that Drake was possibly foretelling his antidepressant overdose, which happened two years after the album was released.
 
Needless to say then, the bands tweaked and reinvented the songs on Pink Moon. If the result wasn’t sensitive tributes to Nick Drake, it was still seasoned musicians putting on compelling performances. Music Director Darren Johnston’s own band, Brass Menažeri, started the night off with the title track, “Pink Moon” which was a rumpus of snorting tubas, trumpets, and French horns. It was followed by the Oakland pop band Kapowski who managed to churn out a memorable piano take on “Place to Be.” The Real Vocal Quartet turned some heads with their cover of “Road,” sticking to the song in the beginning, then veering into a blasting collage of strings before coming back up, rather reluctantly, for another verse.
 
The performance that best embodied Pink Moon was the saxophone player David Boyce’s rendition of — interestingly enough— the only instrumental on the album, a song called “Horn.” With an array of effect pedals, Boyce withdrew from with the original song, but managed to embody the whole album with it. He puffed away and evoked its desolation, adding layer upon layer of drifting, sometimes ear-splitting sounds that encapsulated something like panic and nausea.
 
In many ways, you wanted to hear these bands doing their own material and performing longer sets. It was a shame that we only got a taste of the Billie Holiday inspired voice of singer Kally Price, for instance, who was spell-binding in the very, very brief amount of time she was up on stage.

Brass Menažeri (“Pink Moon”)
Kapowski! (“Place to Be”)
Real Vocal String Quartet (“Road”)
Kally Price (“Which Will”)
David Boyce (“Horn”)
Pocket Full of Rye (“Things Behind the Sun”)
Broken Shadows Family Band (“Know”)
Freddi Price (“Parasite”)
Ramon and Jessica (“Free Ride”)
Aaron Novik (“Harvest Breed”)
Jazz Mafia (“From the Morning”)

All photos by Jessica Trimmer

The bad kind of pain: Kitty Stryker talks sexual abuse in the BDSM community

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In a culture where pain equates to pleasure and sexual power is deliberately manipulated for ecstatic highs, how far is too far? Kitty Stryker and Maggie Mayhem are two local activists who are confronting rape and abuse within the BDSM community. The two are gearing up to take a workshop they’ve prepared on the subject called “Safe/Ward” on the road. You can support their educational tour at a Center for Sex and Culture fundraising event on Tue/24.

Stryker and Mayhem have been spreading word about their efforts through blogs and online confessionals, which — Stryker was proud to tell the Guardian in recent interview — has helped to open up a dialouge about these issues in the sex-positive community. The workshop Kitty and Maggie hosted locally in August was a huge success, and the duo have been invited to present their project at Momentum, a feminist sexuality conference taking place March 30 through April 1 in Washington, D.C. 

On Tuesday, the sextivists will be hosting a mini-workshop-party to help raise funds for the big journey. They promise nothing short of titillating raffles, awesome art and performances, tasty drinks — there’s even rumors of a kissing-spanking booth. Read on to learn more about what inspired the “Consent Culture” tour, and what it’s like to bring up these issues in the sex-positive community.

 

San Francisco Bay Guardian: What is “Safe/Ward” and inspired this project? 

Kitty Stryker: “Safe/Ward” is a workshop that Maggie Mayhem and I put together. The purpose is to talk about consent culture. Basically, we realized that we have had very similar negative experiences in the BDSM scene. When we started talking about these abusive situations more, we realized this was more of a widespread problem. It wasn’t just us. So we started a workshop talking about consent and abuse in the BDSM community and how to promote a more consensual environment. 

 

SFBG: What goes on in these workshops? 

KS: We generally like to ask the people who come to talk about their experiences.  We also watch a lot of videos regarding consent and we discuss how abuse is generally never seriously confronted. For example, consent — especially in regards to kinky sex — is joked about and made a punch line. These jokes about safe-wording have a darker undercurrent since essentially we are laughing about the lack of consent. We like to talk about why this is problematic. And one of the main issues we’ve noticed is that many people don’t feel comfortable going to their community leader or dungeon monitors about their sexual assaults. In the workshop, we provide some actual steps that party hosts can make to make their space safer.

 

SFBG: What is a major issue that you find important to address?

KS: The concept of safe-wording. I wrote a piece called “I Never Called it Rape,” and the responses were very intense. There’s this “victim blaming attitude” people like to take. Many people responded saying that maybe if I safe-worded, I wouldn’t have been abused. But there’s not always a definite time to safe-word sometimes, because such unexpected and out of the ordinary situations come up. And who really is going to safe-word in a culture where the person who safe-words is called a wimp?  Sex is supposed to be fun. It’s not a competition. And there’s this attitude that if you are a submissive who safe-words, you’re a difficult submissive. When it should be that you are a better submissive because you are communicating. It’s kind of surreal that people are being so defensive about it. 

 

SFBG: What is one crucial aspect of consent culture that “Safe/Ward” encourages people to become aware of from the workshop? 

KS: That BDSM is not about who is the most able to withstand torture. It’s about consent and respect. We talk about consent all the time, but it’s a little bit more nuanced within the BDSM community. We’re playing with sex and power, and neglecting the possibility of rape and abuse is symptomatic of our unwillingness to talk about consent and the reality that it’s not always there. 

 

“Consent Culture” fundraiser 

Tue/24 7-10 p.m., donation suggested

Center for Sex and Culture

1349 Market, SF

(415) 902-2071

www.sexandculture.org

Protesters “occupy” vacant building

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After a long day of protest that began at 6 a.m., 1200 joined a march affiliatiated with Occupy SF  last night. The march aimed to “liberate the commons”; organizers said they succeeded when they were able to enter a vacant building, the former Cathedral Hill Hotel at 1101 Van Ness.

The march left from Justin Herman Plaza just after 5 p.m. and arrived at the former hotel around 7 p.m. after rallying at several sites along the way.

There, protesters were greeted by a police line and barricades protecting the buildings.

SFPD Officer Carlos Manfredi reports that protesters tried to remove barricades with the hooks of their umbrellas, and then threw “rocks, bottle and bricks” at police. Police responded by pepper spraying a dozen protesters.

Many eyewitness reports confirm manipulation of barricades, but deny that anything was thrown at police, instead attributing the pepper spray usage to anti-police slogans chanted by the crowd.

After the confrontation, the march turned down Van Ness. Some protesters broke windows at a Bentley dealership at 999 Van Ness.

The march soon turned back around, and protesters regrouped near the building’s back entrance on Franklin between Geary and Post.

There, the crowd looked up to see figures on the roof unfurl a banner reading “Liberate the Commons.” The back door was then opened from the inside by activists, largely from Homes Not Jails, who had broken into the building.

Soon after, demonstrators began streaming into the building.

Police arrived around 8 p.m. and redirected traffic, blocking Geary between Van Ness and Franklin, while a mass of several hundred protesters continued to block Franklin street between Post and Geary.

At 8:30, Manfredi said that police had no plans to rush into the “occupied” building.

“RIght now officer safety is our number one priority so we’re not going to go in there and rush into this event. Obviously Van Ness and Geary is a very busy street…We’re monitoring the situation, we’re talking with the owner, and we’re going to come up with a game plan…We’re going to see if we can open up some line of communication and speak to them, and see if we can come to some form of resolution,” Said Manfredi.

Manfredi also discussed the difficulties police find in communicating with Occupy SF protesters, noting that “a lot of times with these protesters, there’s not one single person responsible for leading the pack. So it’s very difficult, when you talk to one person they may not agree with the other ten. So that’s where the problem comes in.”

This “leaderless” quality, as well as privileging immediate human needs like shelter and food over some aspects of capitalism such as property rights, has been a running theme in the Occupy movement. Homeless advocacy was a large part of the Occupy SF focus in past months, as the encampment at Justin Herman Plaza created a community of homeless and housed activists.

Homes Not Jails, an organization that has been working with Occupy SF, was crucial in planning the “liberate the commons” protest. The group insists that the 30,000 vacant housing units in San Francisco should be used to shelter the city’s homeless, which they estimate at 10,000. San Francisco’s Human Services Agency reports the number of homeless at 6,455.

The cold rain pouring down throughout the night’s events increased the urgency many felt to find shelter for homeless colleagues. Said one demonstrator, “if we can prevent just one homeless person from dying of exposure in the rain tonight, the building takeover was worth it.”

The former Cathedral Hill Hotel, which has been vacant since it closed in 2009, is now owned by Sutter Health and California Pacific Medical Center, with plans to open a hospital at the site in 2015.

The project has been a target of several protests campaigns, including opposition from SEIU-United Healthcare Workers West, UNITE HERE Local 2, and the California Nurses Association (CNA). They also say the hospital will not cater to patients with medicare and medicaid.

At a press conferenece Jan. 18, CNA member Pilar Schiavo announced a protest at the site for the afternoon of Jan. 20.

Said Schiavo, “A huge hospital is being planned which is being likened by Sutter to a five-star hotel. At the same time, Sutter is gutting St. Lukes Hospital, which is essential to providing health care for residents in the Mission, the Excelsior and Bayview-Hunter’s Point. We know that the five-star hospital’s not aimed at serving the 99 percent, and we must hold Sutter accountable to all communities, not just those fortunate enough to have private insurance.”

Police cleared the street of protesters and entered the building around 9:30. Those who wished to were allowed to leave; several did, while about 15 remained. Protesters discussed plans to continue the building occupation through the night.

But most protesters providing support from the outsid had left by midnight, and those inside decided to leave voluntarily, according to organizer Craig Rouskey.

This post has been updated.

“In the big butt category, there’s four awards”: What’s it like to vote in the AVN Awards?

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Guardian culture editor Caitlin Donohue will be live Tweeting the AVNs this year. For the latest in Lycra and non-judgemental observations, follow her @caitlindonohue

Once a year, the porn industry gathers to honor its own. Cash is dropped on sparkly stripper gowns, breasts are wedged into places that are too small for them, too-little or too-much time is spent on crafting acceptance speeches and: Viagra. Sometimes Flo Rida is there (this year Coolio will captain the official after-party) – but like an enthusiastic blow job, the Adult Video News Awards are always a triumphant good time. This weekend the ceremony and attendant fan expo are at the Hard Rock Hotel in Vegas. The Guardian’s going to be there on the red carpet, obviously – but we thought we’d get you all hot-and-bothered with some sage words from two industry insiders – who happen to be members of the academy to boot.

Your skin flick experts are Chris Thorne and Steve Javors, who graciously submitted to phone interviews with us last week. Thorne is the founding editor of Xcritic.com, a Portland-based website that reviews stacks upon stacks of adult DVDs round-the-calendar. Thorne’s been voting in the awards for two years now, but has been following them “since the Tera Patrick-Jenna Jameson era.”

Javors is the managing editor of AVN Magazine, so he’s not only a voter in the awards, he also decides the nominations. It’s a small porn world, after all. He’s been voting for the awards for five years, our veteran judge. He’s confident that this year’s awards will continue to be the screaming climax of a time they’re always been. “We have a pretty successful formula,” he told us. “I think the challenge is just to top what we did last year.”

On being an AVN voter: 

Chris Thorne: It’s punishing. It’s punishing. I don’t think anybody quite realizes the magnitude of the task that is voting in the AVNs. It is by far the most demanding thing you can do in the adult industry.  The box of DVDs – we had two stacks of them, both around six feet high. We’re talking about high 800s to a thousand titles. Some titles are nominated for specific scenes, so you’re like okay, I’ve watched that scene, I don’t have to watch the rest of [the movie].

Big winner predictions:

CT: This year’s field is not as clear-cut as it was in years past. There were a lot of really good performances and good films, but in years past it was pretty darn clear that one or two movies would take it and go. Digital Playground’s Pirates and Pirates 2 — when those films came out it was pretty clear that they were above and beyond everything else that was going on. In terms of handicapping it, I think it’s going to be a difficult year. 

Steve Javors: I think Bobbi Starr had a spectacular year. She’s been a critics’ favorite for a few years now. She distinguished herself more so this year, she’s one to look out for. Also, the star of Portrait of Call Girl, Jessie Andrews, that movie should do well. With Jessie it’s her wide-eyed innocence that grabs you. She’s naturally beautiful, she’s 19, she looks like a girl form an American Apparel ad. I thinks that’s her appeal. I think this is going to be her star vehicle. She’s so sweet, so accommodating, super-professional.

Dark horse picks:

CT: I am particularly enamored with a company called New Sensations, their Romance series. [Xcritic.com] named one of the films from that series as our top title of the year. That was called Lost and Found. This was an interesting year for porn, it’s adjusted quite a bit for the recession – it’s found in the last couple years that it’s not recession-proof. One of the things it’s done is try to expand its audience. Lost and Found is a romantic comedy with sex. Also, Wicked Picture’s Horizon, Elegant Angel’s Stephen Soderberg-esque Portrait of a Call Girl, and Digital Playground’s Top Guns and Fighters. Vivid did a few notable parodies: Spiderman XXX, Superman XXX, The Incredible Hulk XXX, Wicked’s Rocki Whore Picture Show, that was really good! Sometimes you see something and you’re like, there’s actual filmcraft involved, it’s not just two hours of people fucking with a loose plot attached.

SJ: Brooklyn Lee might be one of those. Last year was her first full year in the business and she came out doing incendiary scenes in Spiderman XXX from Axel Braun and Vivid.

On the best part of the AVN Awards:

CT: In terms of the awards show, it’s gone from cool, to watching-paint-dry-boring, to absolute absurd. You never know if this year it’s going to be a good year or a bad year. My favorite parts are not on the program. Everyone knows each other, especially the performers. Some of them know each other quite intimately. They’re “on” when they’re on the red carpet, but there are some nice moments when they don’t have to be on and performing. Everybody kind of comes together, so there’s this nice opportunity to connect. 

On the worst part:

CT: The middle part of the awards show. It starts out really fun and exciting but there are hundreds of awards. Somewhere in the middle there it can feel like there’s no end in site. It’s like, there’s an award for best porn soundtrack? In the big butt category there’s four awards. Sometimes the acceptance speeches are longer than the Academy Awards. 

On who was cheated this year out of a nomination:

CT: Y’know, they nominate so many people. There are so many nominations. I think the nominations are extensive enough that they cover their bases. Sometimes there’s 15 nominations in a category.

On the evergreen appeal of DVD porn:

SJ: When people say the DVD market is dying – it’s not what it once was, but going through the list of nominees this year, you can see products that people want to buy. Viewership has moved to the Internet, but there’s tons of stuff that people want to own. Parodies have really propped up the DVD market. It’s unbelievable the quality of the parodies that have come out. It needs to be that way because otherwise you upset the fans. If you read the chat boards and go to Comic Con, see what goes on with the fans that are new audiences to porn – they’ve taken to these parodies in a big way. 

On his voting critiera for the Best Double Penetration Scene category: 

CT: How we evaluate sex scenes is not necessarily rocket science. Great sex scenes boil down to a couple key critieria. One, chemistry between the performers. It’s like fine wine, you know it when you see it. When two performers like each other — or maybe they don’t like each other but they have real chemistry. Two, you look at presentation – how do the three performers work with each other? Is it exciting to watch? Do you look at it and say wow, that looks painful? When you look at [a sex act] that’s – I don’t want to say on the fringe – you want to see it presented in a way that is exciting, titillating, it fulfills a fantasy that the viewer might have. Third, how is it shot? Are we close up and center on the penetration? Good directors can present scenes in a way where it’s not just that. 

On the evolution of the awards:

SJ: it’s really evolved, it’s become this gigantic event. Even if you’re not a fan, everyone and their mother has heard of the AVN Awards. It’s now broadcasted on Showtime, seen by millions of people – they’re still repeating last year’s show. It’s in its 29th year and it’s changed from a smaller ceremony for industry people in a small ballroom in Vegas to this grand spectacle that is certainly on par with the Golden Globes or other Hollywood awards show. Girls spend thousands of dollars on their dresses, Dave Attel is hosting this year. Dave’s a perfect fit for our business. He’s a big fan of the business, he knows all the girls. 

Correction: An earlier version of this article identified Rocki Whore Picture Show as a Vivid Entertainment production. It was actually made by Wicked Pictures.

Higher and higher

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TRASH Rejected by audiences. Panned by critics. Beloved by a loyal cadre of alternative comedy fans.

Wet Hot American Summer may not have found success when it premiered in 2001, but the offbeat comedy has since become — like so many underrated flops — a cult classic.

“I’m always amazed that some critics didn’t just dislike it, they were outright hostile to it,” says David Wain, who directed the film and co-wrote it with Michael Showalter. “But those who keyed into it, whether the first time or second or third, seemed to really key into it. And for that I’m grateful.”

Those diehard Wet Hot devotees came out in droves when SF Sketchfest announced a live radio play version of the movie: tickets to the event quickly sold out. At the event, Wain will join Showalter and other cast members, including Paul Rudd, Amy Poehler, and Michael Ian Black.

Black remembers when he first realized Wet Hot had achieved cult status.

“About two or three years after the film came out, people started hosting midnight screenings at various theaters around the country,” he says. “It’s very gratifying, particularly because its popularity has remained pretty consistent over the last decade, and has found new fans among people who are unaware of our work — The State, Stella — beyond that movie.”

Those who missed the sketch comedy of The State and Stella were likely the same audience members baffled by Wet Hot, a film that is gleefully strange and — past the simple premise of “last day at summer camp” — difficult to explain.

Wet Hot does not fit into neat categorizations,” Black reflects. “It’s not a parody, it’s not a romantic comedy, it’s not a comedic homage. It has its own thing, its own sensibility.”

Part of that sensibility includes a talking can of mixed vegetables (voiced by H. Jon Benjamin), a cameo by falling Russian space station Skylab, and Black having steamy storage shed sex with future Sexiest Man Alive Bradley Cooper.

“It was kind of awkward because neither of us had ever been with another man before, but once we got into it, it was fine,” Black recalls. “I thought, ‘Oh, this is pretty much just like making out with a girl, only with a dick.'”

Because Wet Hot is the kind of movie fans watch and rewatch endlessly —something I can attest to from personal experience — those attending the live show probably have a pretty good idea of what to expect. Still, Wain promises a unique theatrical experience.

“We’ve gathered much of the original cast and many other awesome comedy folks, and we’ll have a live band and we’ll do an audio version of the movie,” he says. “Should be a blast!” 

SF SKETCHFEST

Jan. 19-Feb. 4, $10–$75 (Wet Hot event SOLD OUT as of 1/18, alas — but there’s plenty more Sketchfest fun to be had!)

Various venues, SF

www.sfsketchfest.com

Nite Trax: Edwardian Baller Justin Katz tells of Gorey origins, steampunk youth, more

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In this week’s Super Ego nightlife column in the paper, I write about this coming weekend’s giant Edwardian Ball at the Regency Ballroom, which spans five events and welcomes thousands into its playful goth-steampunk-burlesque embrace. Named for Edward Gorey but encompassing more than a few winks at the Edwardian Era of the last turn of the century, the all-ages ball has come to act as a summit for a certain essential, instantly recognizable San Francisco nightlife subculture.

The ball was launched in 2000 by Justin Katz of “premiere pagan lounge ensemble” Rosin Coven and Mike Gaines of the neo-cirque Vau de Vire Society, and has grown enormously in the 12 years since — including branching out to Los Angeles. I interviewed the genial Katz over email about the ball’s Gorey origins, the challenges of expansion, combatting the dreaded FOMO, and welcoming a new generation of Friends of Ed.

SFBG Congrats on 12 years of the Edwardian Ball. When you started this, did you think it would take off in this big a way? Can you share a couple of your favorite memories of the Ball since the “turn of the century”?

JUSTIN KATZ Thank you! Each year in the history of this event has been such an adventure, with unpredictability even for us being a constant! Our first year we used a slide projector to show images from a Gorey book. Slides! The second year we did our first interactive theater with the audience, inviting friends to come up and be part of “The Curious Sofa.” Our fifth year was the first with Vau de Vire Society, one of the best decisions Rosin Coven ever made, and I can’t believe the amount of theatre, aerial, and huge open flames that we fit into the back room of the Cat Club. From then on it’s been astounding to see the growth and participation, first the Great American Music Hall, then up to three nights there before waltzing into our current home, The Regency Ballroom.

SFBG You’re extending the festival over six events this year — can you tell me a little about that? Have you ever had this many events, and is this in response to demand?

JK This is definitely our biggest offering to date. The event has developed in so many ways concurrently that there is just too much to see and do during a nighttime event. The Vendor Bazaar (afternoon of Sat/21) has grown into a world of its own and people want more time to shop and mingle amongst the dozens of amazing artisan vendors we now house for the weekend. It gives people a chance to focus without dreaded FOMO — fear of missing out! — with all of the revelry of the Ball afterwards. And this year’s tea with Professor Elemental (also afternoon of Sat/21) is a new one. We are so pleased to have such an excellent artist flying all the way from the UK that it only seemed proper to have a tea party, and give fans a chance to get up close and personal in a more relaxed setting. So it’s about opening up and spreading things out a bit, to enjoy.

http://www.youtube.com/watch?v=0iRTB-FTMdk

SFBG This year’s theme book is the Iron Tonic — will there be specific references to the book, or do you adopt these just as general frameworks to work within? And what are some of the special things you’re looking forward to this year?

JK: Each year Rosin Coven & Vau de Vire Society, co-hosts of The Edwardian Ball, choose a featured Gorey story to bring to life on stage. So this year’s tale is “The Iron Tonic”, which will be presented on Saturday night with original music, staging, choreography, and video as our “big show.” So you will see the story in its entirety. And more, actually, because Vau de Vire always goes to the next level in creating the story – showing you what Gorey doesn’t. One of the most intriguing things about Gorey’s work is that he shows you so little, and implies so much. Vau de Vire plays with character, back story, scenes between the scenes, and really draws you in. Rosin Coven works closely with them developing this and creating the music and narrative that drives and showcases all of the amazing theatrics.

http://www.youtube.com/watch?v=6qgIGKobTe4

Another addition to this year’s event that I just can’t wait to see is our new Museum of Wonders – we’ve added an entire third floor of The Regency to the event, a dense, dark playground of eccentric collections, unusual artifacts, circus sideshows, mechanical dolls that sing you songs, fortune telling, tarot reading, a haunted pipe organ, and a living statue garden by Vau de Vire performing more Gorey stories. We’ve taken the wonderful art that has filled our ballroom and given it its own home, a whole new world to wander during the event, and a place to get away from the crowds for a different experience. This also allows us to open the Ballroom up even more for dancing and enjoying the show – more space to tango!

SFBG I’m fascinated by the general culture that’s coalesced in the past decade or so around the Edwardian Ball — it’s such a San Francisco signature style incorporating burlesque revivalism, playful goth, circus and steampunk, various aspects of Victoriana and Edwardiana. You guys seem to be the major exponents of this certain culture. Have you had any thoughts about it as you’ve seen it develop? What changes or developments have you seen in the Edwardian Ball culture through the years that you’re proud of or that have really made you think?

JK It’s an honor to be recognized as an influence on San Francisco’s style and trends, I’ve always seen us almost more of a great receiver of ideas and influences. We provide a creative, permissive space for people to inspire each other and cross-pollinate. By creating a mood but not strict rules, people have developed their own interpretations and styles over the years, the sum total of which become “Edwardian.” We initially used the name Edwardian just to dress up Edward Gorey, but its been fascinating to see people develop the historic elements of the event on their own. Steampunk is an interesting one too – when we started that word didn’t even exist. We’ve never self-promoted as a “steampunk” event, any more than we would be a “period recreation” event, but we’ve enjoyed the dovetailing of the trend and it’s expansion into more elaborate costume and character. I’ve enjoyed seeing people take Gorey’s work and meld it into their own creations too – characters and monsters and oddities from the pages of his books have been found in the most wonderful corners of the events.

http://www.youtube.com/watch?v=IjjDt2_oKyU

SFBG How has the Los Angeles Ball been going and do you plan to expand further?

JK Los Angeles has been inspiring and challenging. Our first year was gorgeous, held in the mostly-defunct, run down Tower Theater in Downtown LA. It was moody and intriguing, and difficult from a production standpoint. So last year we moved to The Music Box, which is such a great venue. We had a little hiccup when the venue double-booked the night and bumped our date, and we had to push it back a month. But this year The Music Box outdid themselves and shut down a week ago, out of business, so we’re hard at work on finding a new home and date in time to announce at the SF event. LA is just good at tossing us curveballs – but aside from the nuts and bolts we have a wonderful time down there and are inspired and impressed by how ready the crowd is to step up, dress up, and immerse themselves in the Edwardian world. I see no reason not to keep expanding the reach of this event: New York, Seattle, New Orleans, there are so many places that the Edwardian Ball could pay a delightful visit.

http://www.youtube.com/watch?v=D3ISx6UaKw0

SFBG You welcome all ages to the Ball. Do you find that, as steampunk and burlesque enter the mainstream consciousness more, that more younger people are drawn to the culture that the Ball represents?

JK I think that’s a good assessment. I think we’re seeing a couple of groups of younger people – there are those that are drawn to live music, circus, and performance, and this gives them a place to go when most shows are 18+. It’s such a well-behaved crowd – playful but respectful – that we feel good about including all ages and creating a safe space for young people. Their presence adds a really vital energy, and I think affirms that we are creating something that can continue on, it’s not just for the producers and their own social circles. New, young ideas can and will influence where this event goes.

Also, some of the longtime fans are getting older and having children themselves, and starting to bring them to see this unique world. We’re starting to see the “Under-10” crowd show up for the first few hours – they watch the show, climb aboard a bike-powered carnival ride, play midway games with clowns, pose for photos, and head back to school for an unbelievable round of show-and-tell.

Fri/20: Edwardian World’s Faire Kinetic Steam Works, Cyclecide, Vau de Vire, games, and more

Sat/21: Edwardian Ball 2012 “The Iron Tonic” with Jill Tracy, The Fossettes, Miz Margo, and more

Both at Regency Ballroom, 1300 Van Ness, SF. All ages, see www.edwardianball.com for prices, times, and more events.

Last night with Michael: Cirque Du Soleil revives the King of Pop

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I consider myself a casual Michael Jackson fan; I’ve long owned worn vinyl copies of Thriller and Off the Wall, and have fuzzy memories of attempting — painfully — to learn the dance moves in the videos for “Beat It” and “Scream” (oddly, a personal favorite). But I know I will never fully appreciate what Michael did for his fans, how much he obviously meant to the costumed group sitting in front of me at the Oracle Arena in Oakland on Tuesday evening during Cirque du Soleil’s thrilling new production, Michael Jackson: The Immortal World Tour. But I was there for the spectacle of it all, and spectacle I got.

It began with a whimper, as I suspect most Cirque du Soleil productions do, to impress with the thundering glittery expanse soon thereafter and to later highlight the true magnitude of the event. Start small, end gigantic. Tumbling on to the rounded area of the stage at the center of the arena, a few young Michaels in bright bell-bottoms and ‘fros stumbled around in a clowny dance routine. Drop the curtain, flash the lights, and shoot the pyrotechnics into electric showers of flickering white; and the stylized beauty of the production was on its way.

There were dozens of costume changes, impressive backdrops, and a few totems of MJ  (hearts, globes, a giant hot air balloon). The physical humming, lit-up red heart was a constant throughout the night, with dancers holding up flashing hearts during big important moments. Michael’s “Heal the World” sentiment was also a recurring theme; bulbous globes appeared in both dancers’ paws and hovering above, raised into the Oracle’s huge space, as contortionist acrobats spun on spindly hoops. Near the end dancers came marching out holding gigantic national flags. Throughout the evening there were taut bodies wearing light-up costumes – the bodysuits sometimes shone harsh and bright with severe neon curve-defining lines a la Tron, other times twinkled with sparkling stars during heartfelt numbers — those moments occasionally nearing schmaltzy.

Each number popped with Michaelian (Jacksonian?) intensity, be it by force or remembrance. From the bold, stomping silver heart-shaped military marching during “They Don’t Really Care About Us” to the sweet, earthy white-draped mid-air tumbling during the more somber songs. I suspect those more subdued, tender parts — “You Are Not Alone” et al. — were for the true, obsessed fans in the audience, of which there were many. They were for those who miss him dearly, eternally, and came out dressed in bright red military garb, a solitary sequin glove, liquid black eyeliner, and delicate Michael-style curls plastered to the nape of the neck (again I’m talking about the crew near me). I felt the devotion and melancholy of the impersonator in Harmony Korine’s Mr. Lonely. It was luck that I got to be so near these fans, I felt their heat, and I danced when they danced.

http://www.youtube.com/watch?v=VPP9wVmxtVk

I much enjoyed the clock-cranking steampunk dance number with brassy robots pulling dancers, tapdancers atop pedestals, and high-flying acrobats flipping over machines. “Thriller” was also properly awesome, a smoky graveyard filled with mummy-like zombies wrapped in sexy gauze. There were song montages, classic choreography, and videos throughout, along with a man-sized sequined glove dancing, a pair of giant loafers, and plenty of actual Michael clips and quotes.

The musicians on stage brought a sense of the present, playing over MJ’s own recordings. With live brass horns, an insanely awesome bikini-clad electric cellist, and a seriously shredding guitarist (along with a full backing band), the show was also very much an arena concert.

Cirque and Michael merged best when a cluster of expert dancers would move seamlessly from classic choreography to high-flying acrobat, shot to the roof on pulleys and chords while the live band played below. An expert breakdancer mime in a sequined b-boy cap, the ringmaster also provided a nice bridge between the late King of Pop and the French-Canadian company.

While celebrating Michael in likely the most spectacular way possible, the night also served as a sobering reminder of his untimely passing. I saw many wiping tears from their cheeks. I couldn’t help but feel the same. The touring show is not for just the eternally Michael obsessed (though they’ll be there), it’s for the casual fan as well, those who only pull out Off The Wall when it’s time to dance.

A Bay Area kind of stand-up: Frankie Quinones of For the People Comedy

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Common knowledge states that if you’re serious about becoming a stand-up comedian on the West Coast, you move to Los Angeles. But Frankie Quinones created the diversity of For the People Comedy here in San Francisco and despite his rising star on the stand-up scene, he’s sticking around for the moment.

Maybe that’s because Carmelita lives here. “She’s taken on a whole thing of her own, her own career,” says the Ventura County native of his sassed-up, club-going Latina sexpot. “Carmelita’s got her own list of things to do in 2012.” You can check out Quinones — and possibly Carmelita or his popular “Cholo Whisperer” skit — at the next For the People event at Cobb’s on Thu/19. 

Carmelita was created back in 1996 in Quinones’ high school improv class. She hails from Quinones’ stable of characters inspired by – well, what else – the people he sees on an everyday basis. In Carmelita’s case that’s his female family members, mixed with Quinones’ own mannerisms. “She’s really confident, but not really conceited,” he says. 

Her star vehicle was “Eh-So Eh-Spicy,” in which she half-dishes, half-raps about men looking at her tits in line at the store and courts suitors in a San Francisco bar. You’re definitely laughing at her, but somehow, Quinones escapes reducing the brash Carmelita into a stereotype like so many other male comedian’s female alter egos. Carmelita shares set time with a host of Quinones’ other personas, including a hippie character named Sun Diamond whose mannerisms are culled from the patchouli-scented denizens of our fair city.

Quinones is proud of being a Latino comic, part of a tradition that also includes his personal role models Gabriel “Fluffy” Iglesias and Paul Rodriguez, who his parents used to watch on TV when he was young. He often performs at Latino comedy nights in Los Angeles, but in San Francisco — where successful Latino comics are well-known for relocating quickly down south when fame beckons — he’s used to being the only Hispanic name on otherwise all-black and all-white bills.

His comedy often dances along the edge of racial tensions, ultimately resolving them in a feel-good way. In “Cholo Whisperer,” a upper-middle class suburban couple hires an expert to deal with the shanking, 40-drinking gangster (played by Quinones) they’ve adopted after being charmed by their neighbor’s cholo. The cholo whisperer, who walks with a mystic’s bauble-topped scepter but dresses in everyday street wear and a blue bandana, teaches the white husband how to be “the jefe,” a role that mainly involves puffing out his chest and barking short orders. 

“Some people think I’m stupid for not moving to LA already,” says Quinones, drinking a Negra Modelo in front of his combination plate on a sidewalk tables at the Valencia Street Puerto Alegre. “But I feel like I’m doing something for the San Francisco comedy scene.” You can check out For the People’s new monthly gig every last Wednesday at SoMa’s Sofa nightclub on Eighth Street and Minna. Quinones crafts the program for these nights with the newbie comedy fan in mind — usually they’ll feature stand-ups from all kinds of backgrounds, even a live DJ for musical interludes. 

“I’ve always been that fool in my family, like ah, fucking Frankie,” Quinones laughs. “People in my life are not surprised that I’m a stand-up comedian.”

Maybe that’s why they’ve been so supportive. “I have a good team of homies that believe in this as much as I do,” says Quinones, who says the word of mouth hype his group of friends give him is invaluable in promoting his shows – indeed, a word from a mutual friend was how I heard about his work. “Our brand of comedy is like, this is all of us, together. It’s like, I’m no better than you because I’m on stage. I try to create a family vibe so that when people come in they feel a part of it.”

Just don’t heckle him – that positivity has its limits. “If somebody heckles me that’s the green light,” he laughs forbodingly, for a moment seeming like the snarky comedians we’re used to from network television and BET. That impression doesn’t last long before we’re back to the group experience: “But my goal is to make it funny for everyone.”

 

For the People Comedy

Thu/19 8 p.m., $15

Cobb’s Comedy Club

915 Columbus, SF

(415) 928-4320

www.cobbscomedyclub.com

Rep Clock

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Schedules are for Wed/18-Tues/24 except where noted. Director and year are given when available. Double and triple features are marked with a •. All times p.m. unless otherwise specified.

ALA COSTA CENTER 1300 Rose, Berk; missreplacosta.eventbrite.com. $15. Miss Representation (Siebel Newsom, 2011), Fri, 7. Benefits Ala Costa’s Adult Transition Program for young adults with developmental disabilities.

BALBOA 3630 Balboa, SF; www.brownpapertickets.com. $17.50-20. “Opera and Ballet at the Balboa Theatre:” Don Giovanni, from La Scala, Wed, 7:30; Caligula, from the Paris Opera Ballet, Sat-Sun, 10am.

CASTRO 429 Castro, SF; (415) 621-6120, www.castrotheatre.com. $7.50-10. •Lenny (Fosse, 1974), Wed, 2:50, 7, and American: The Bill Hicks Story (Harlock and Thomas, 2009), Wed, 4:55, 9:05. “SF Sketchfest:” “Night of the Shorts III: The Search for Schlock,” with Kevin Murphy and Bill Corbett, Thurs, 8. This event, $30; for tickets and more info, visit www.sfsketchfest.com. “Noir City X:” •Dark Passage (Daves, 1947), Fri, 7, and The House on Telegraph Hill (Wise, 1951), Fri, 9:30; •Okay, America (Garnett, 1932), Sat, 1, 4, and Afraid to Talk (Cahn, 1932), Sat, 2:40; •The Killers (Siegel, 1964), Sat, 7, with Angie Dickinson on-stage interview after the film, and Point Blank (Boorman, 1967), Sat, 9:45; •Laura (Preminger, 1944), Sun, 3, 5, 9, and Bedelia (Comfort, 1946), Sun, 7; •Gilda (Vidor, 1946), Mon, 7, and The Money Trap (Kennedy, 1965), Mon, 9:20; •Unfaithfully Yours (Sturges, 1948), Tues, 7, and The Good Humor Man (Bacon, 1950), Tues, 9:15. Advance tickets (double features, $10-15) and more info at www.noircity.com.

CHRISTOPHER B. SMITH RAFAEL FILM CENTER 1118 Fourth St, San Rafael; (415) 454-1222, www.cafilm.org. $6.75-10.25. “For Your Consideration: A Selection of Oscar Submissions from Around the World:” A Simple Life (Hui, 2011), Wed, 6:30; Patagonia (Evans, 2010), Wed, 9; Once Upon a Time in Anatolia (Ceylan, 2011), Thurs, 7:15. Hipsters (Todorovsky, 2009), Wed-Thurs, call for times.

PACIFIC FILM ARCHIVE 2575 Bancroft, Berk; (510) 642-5249, bampfa.berkeley.edu. $5.50-9.50. “Film 50: History of Film, Cinema, and the Other Arts:” “Course Introduction: The Language of Cinema,” with lecture by Marilyn Fabe, Wed, 3:10. This event, $5.50-11.50. “Henri-Georges Clouzot: The Cinema of Disenchantment:” Manon (1949), Wed, 7; Miquette and Her Mother (1949), Fri, 9; The Wages of Fear (1953), Sat, 8:10. “Austere Perfectionism: The Films of Robert Bresson:” Au hasard Balthazar (1966), Thurs, 7; Mouchette (1967), Sat, 6:30. “Howard Hawks: The Measure of Man:” Fazil (1928), Fri, 7; A Girl in Every Port (1928), Tues, 7.

ROXIE 3117 and 3125 16th St, SF; (415) 863-1087, www.roxie.com. $6.50-10. “It’s the Paul Meinberg! Show!”: Bachelor’s Daughters (Stone, 1946), Wed, 7. Battle for Brooklyn (Galinsky and Hawley, 2010), Thurs, 7, 9. Drive (Winding Refn, 2011), Wed-Thurs, 7. Everyday Sunshine: The Story of Fishbone (Anderson and Metzler, 2010), Wed-Thurs, 9.

SFFS | NEW PEOPLE CINEMA 1746 Post, SF; www.sffs.org. $10-11. “Four Samurai Classics:” Harakiri (Kobayashi, 1962), Wed, 1:30, 6; Yojimbo (Kurosawa, 1961), Wed, 4:15, 9:15; Sanjuro (Kurosawa, 1962), Thurs, 2:45, 8:45; Seven Samurai (Kurosawa, 1954), Thurs, 5. Fullmetal Alchemist: The Sacred Star of Milos (Murata, 2011), Jan 20-26, 2, 4:30, 7, 9:15.

VICTORIA THEATER 2961 16th St, SF; www.start-somewhere.com. $10-20. Miss Representation (Siebel Newsom, 2011), Tues, 6. Benefits StartOut’s new Lesbian Entrepreneurship mentoring program.

YERBA BUENA CENTER FOR THE ARTS 701 Mission, SF; (415) 978-2787, www.ybca.org. $6-8. Red Desert (Antonioni, 1964), Thurs and Sat, 7:30; Sun, 2.

Our Weekly Picks: January 18-24

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WEDNESDAY 18

“Four Samurai Classics”

Forget Tom Cruise’s preposterous The Last Samurai (2003) — if you haven’t already. The only true samurai films come from Japan, not Hollywood, and the classics of the genre all emerged during the country’s post-World War II rebuilding years. With their tales of collapsing empires, and themes of corruption and courage, the films simultaneously addressed both historical and present-day struggles (and tended to star legendary actor Toshiro Mifune). The San Francisco Film Society unfurls four classics, starting with Masahiro Kobayashi’s Harakiri (1962) and followed by three of Mifune’s 16 collaborations with director Akira Kurosawa: 1961’s Yojimbo, 1962’s Sanjuro; and 1954’s epic Seven Samurai. (Cheryl Eddy)

Wed/18-Thurs/19, $10–$11

SFFS | New People Cinema

1746 Post, SF

www.sffs.org


“Rock ‘N’ Sock Hop for Jonathan Toubin”

On Dec. 8 of last year a taxi crashes through the first floor bedroom of a Portland, Ore. motel. A man is found pinned under the car then taken to a hospital in critical condition. Just a few days earlier, Jonathan Toubin was DJing at the Knockout as New York Night Train, spinning 45s and running his wild and sweaty Soul Clap and Dance-Off. Hailing from NYC but with followers and fans in many places, Toubin is in stable condition but on a slow road to recovery. A number of friends have come together to raise money for his hospital bills. This SF benefit includes support from soul brother and Oldies Night hero DJ Primo, Ty Segall, and Shannon and the Clams. (Ryan Prendiville)

With Hank IV, Lenz, and more

8 p.m., $10

Mezzanine

444 Jessie, SF

(415) 625-8880

www.mezzaninesf.com


THURSDAY 19

John Stanley

On the entertainment beat for the San Francisco Chronicle from the 1960s through the early ’90s, John Stanley scored rare, one-on-one interviews with legendary actors and performers such as Clint Eastwood, Jane Russell, Lauren Bacall, James Stewart and plenty more. The local writer — who also hosted the TV show Creature Features on KTVU — has combed through his extensive files and archives and compiled some of them into his new book The Gang That Shot Up Hollywood (Atlas Books), a treasure trove of film history that Bay Area movie buffs are sure to devour. (Sean McCourt)

7 p.m., free

Books Inc., Opera Plaza

601 Van Ness, SF

(415) 776-1111

www.booksinc.net


“Nameless forest”

The line between performance and performer, audience and artist, is an ongoing concern of much contemporary work. It’s maybe all the more salient in the wake of the Occupy Wall Street eruption —where habitual passivity gives way to spontaneous popular action and organic community. The divide between art and social action comes in for some more suggestive blurring as YBCA presents the West Coast premiere of choreographer Dean Moss’s cross-disciplinary, cross-cultural collaboration with Korean sculpture artist Sung-Myung Chun (set design), six dancers, and maybe a dozen audience members (the last invited onstage at the outset to join in the proceedings). The games, stories, movements, and meanings that follow are framed by Moss’s three-part conceit, but also very much in collective hands. (Robert Avila)

Through Sun/21, 8 p.m.; Thurs., $5, Fri-Sat., $20–$25

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2728

www.ybca.org


Jesse & Aaron of Brazilian Girls

The rhythm section of Brazilian Girls, drummer Aaron Johnston and bassist Jesse Murphy, will blend live instrumentation with Djing at the Mighty, which should be very easy to dance to, considering some of the low-slung groovelines the band is know for. The collaborators are part of a band that broke through in 2005 with dynamic party music created by multi-instrumentalist Didi Gutman, Johnston, and Murphy, along with the sultry singing of Sabina Sciubba; you may have heard that “Good Time” track on commercials for a certain, non-heavy Dutch beer. Lately, the band has unofficially been on hiatus as members have been pursuing their own personal projects but a reunion may be in the works. (Kevin Lee)

With Dylan McIntosh of BLVD

9 p.m., $15–$20

Mighty

119 Utah, SF

(415) 762-0151

www.mighty119.com


FRIDAY 20

The Meters

Talented artists like the Meters manage to maintain careers spanning decades. Consider the fact that mainstream audiences might not be able to identify one of their songs, and yet the Meters have been playing their own brand of jazz and funk since the ’60s, and have performed with the likes of James Brown and Paul McCartney. The group’s music never goes out of style. High energy, sensual, groovy, these masters of soul and syncopation have left a lasting impression. Go see them before it’s too late. Last year, they hit Outside Lands, this week, Brick & Mortar Music Hall. The soul train keeps moving for all rhythm lovers ready to board. (Courtney Garcia)

With Korty & Friends feat. Members of Vinyl & The Monophonics

9 p.m., $25

Brick & Mortar Music Hall

1710 Mission, SF

(415) 800-8782

www.brickandmortarmusic.com


Passion Pit DJ Set

Yes, Passion Pit has this sweet electropop sound when it plays live as a band. And a lot of Passion Pit remixes on tracks from Bruno Mars, Phoenix, Tegan and Sara, the Yeah Yeah Yeahs keep in that same vein, with soaring melodies and catchy hooks. But Passion Pit: The DJ extravaganza (my title, not theirs) features the band’s remixer and synthesizer specialist Ayad Al Adhamy opting for less sugar and more bass. Passion Pit tracks are sure to get some love (hit track “The Reeling” will likely make an appearance in one form or another), but with this event, Al Adhamy and gang show they are not afraid of delving into some electro house, techno and maybe even an oldie or two. (Lee)

With White Mike, Derrick Love, Nisus, Kool Karlo, Ant-1, DJ Drome

10 p.m., $10–$15

1015 Folsom

(415) 762-0151

www.1015folsom.com


SATURDAY 21

“LevyDANCE’s Salon”

The muses must have been with Ben Levy when he was looking for a home because he found it in a hidden-gems alley (8th Street between Folsom and Harrison) and, appropriately, named it Studio Gracia. The place is elegant, spacious and grass green; so why not call his annual January party/performance events “The Salon?” Sounded classy, perhaps a little decadent, but highly intriguing. No need to dress up, however, for this fun mix of socializing, dance watching, and a DJ dance party. In the middle of the evening (9 p.m.), ten choreographers — from quasi-famous to neophyte — will showcase five-minute snippets of works of their own choosing. You’ll get a whiff of just how rich in contemporary dance this ol’town is. (Rita Felciano)

8 p.m., $10

Studio Gracia

16 Heron, SF

(415) 701-1300

www.studiogracia.com


The Screwtape Letters

Recent film versions of C.S. Lewis’ Chronicles of Narnia tales have hooked the Jesus fish pretty hard, but even atheists can appreciate the author’s vivid imagination and talent for fantasy storytelling. J.R.R. Tolkien’s homeboy was also unafraid to embrace darker themes (and satire), as evidenced by his 1942 novel The Screwtape Letters — about a bureaucratic demon advising his nephew on the fine art of tempting, with the end goal of securing a particular man’s soul. Touring company Fellowship for the Performing Arts touches down with its award-winning theatrical adaptation, featuring lead demon Screwtape (Max McLean) re-imagined as “Satan’s chief psychiatrist.” How’s that for evil? (Eddy)

Sat/21, 4 and 8 p.m.; Sun/22, 3 p.m., $29–$59

War Memorial Opera House

301 Van Ness, SF

(415) 394-4400

www.screwtapeonstage.com


SUNDAY 22

“Undercover Presents: Nick Drake’s Pink Moon

Before he died from an antidepressant overdose at the age of 26, English songwriter Nick Drake recorded Pink Moon, an intense, lugubrious album that’s evidence of his immeasurable talent, and that keeps you in a state of wretched astonishment listen after listen. Arising from similar events with Doolittle and The Velvet Underground & Nico, “Undercover Presents: Nick Drake’s Pink Moon” enlists a ragtag group of local musicians — a whopping 50 of them — to honor and reinterpret the monument that is Pink Moon. With the event’s music director Darren Johnston, and artists like the Real Vocal String Quartet (who recorded on Feist’s Metals), jazz singer Kally Price, and the Balkan Romani band Brass Menažeri, you’ll hear idiosyncratic covers all night. (James H. Miller)

With Kapowski, David Boyce, Pocket Full of Rye, and more

7:30 p.m., $20

Rickshaw Stop

155 Fell, SF

(415) 861-2011

www.rickshawstop.com


WhoMadeWho DJ set

In theory, Denmark’s WhoMadeWho is a rock band. (Named after an AC/DC song, after all.) But in practice, it’s pitched for the club, and approaches both kinetic live shows and disco/electro infused records more like DJs, with a clear feeling for progression and mood. The trio is set to release its latest album (and second album in 12 months,) Brighter, in February on Kompakt, but to get a sense of what to expect from this DJ set, give a listen to drummer Tomas Barfod’s killer Killing Time With Dancing mixtape, featuring their own tracks, a seriously stellar reworking of Siriusmo’s “Nights Off,” and (personal favorite) Connan Mockasin’s “Forever Dolphin Love.” (Prendiville)

With Sleazemore (Lights Down Low), Nolan Haener (Re:Body)

9 p.m., $5–$8

Public Works

161 Erie, SF

(415) 932-0955

www.publicsf.com


MONDAY 23

Wolves in the Throne Room

With Celestial Lineage (Southern Lord, 2011), the most recent full-length release from Wolves in the Throne Room, the venerable Olympia, Wash. band continues to explore the weird Lovecraftian depths and textures immanent to the black metal genre. The new record is the group’s most sonically defined, but the pervading sense of mystery, the exploration of a gnarly sonic wilderness that made Wolves’ lo-fi output so thrilling permeates the album. Live, Wolves are ferocious, a raw tidal wave of blast beats and cascading guitars, and massive slabs of tone that wash over venue. The effect is as hypnotic as it is awe-inspiring. The band returns to San Francisco Monday night at Slim’s. (Tony Papanikolas)

With Worm Ouroboros, Ash Borer

8 p.m., $16

Slim’s

333 11th St., SF

415-255-0333

www.slimspresents.com


TUESDAY 24

Greil Marcus

Music critic Greil Marcus wrote a notorious review of Bob Dylan’s Self-Portrait for Rolling Stone Magazine in 1970. It began with four words: “What is this shit?” He’s published definitive books and essays on Dylan, Elvis, Van Morrison, the Band, and dozens of others since then. His latest book, The Doors: A Lifetime of Listening to Five Mean Years, takes a swing at the popular ’60s band (its music, not its lead singer). “‘Fire’ — it’s a door swinging open in the wind, seen from a distance,” he writes in the prologue, musing on a bootleg recording of “Light My Fire” (that revered and abhorred song). It sounds like a line from Rainer Maria Rilke. And indeed, it takes somebody with the vision of a poet to say something new about the Doors. (Miller)

7:30 p.m., free

Booksmith

1644 Haight, SF

(415) 863-8688

www.booksmith.com 

 

The Guardian listings deadline is two weeks prior to our Wednesday publication date. To submit an item for consideration, please include the title of the event, a brief description of the event, date and time, venue name, street address (listing cross streets only isn’t sufficient), city, telephone number readers can call for more information, telephone number for media, and admission costs. Send information to Listings, the Guardian Building, 135 Mississippi St., SF, CA 94107; fax to (415) 487-2506; or e-mail (paste press release into e-mail body — no text attachments, please) to listings@sfbg.com. Digital photos may be submitted in jpeg format; the image must be at least 240 dpi and four inches by six inches in size. We regret we cannot accept listings over the phone.

On the Cheap Listings

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On the Cheap listings are compiled by Lucy Schiller and Caitlin Donohue. Submit items for the listings at listings@sfbg.com. For further information on how to submit items for the listings, see Picks.

WEDNESDAY 18

Pinball tournament Vitus, 201 Broadway, Oakl. www.vitusoakland.com. 6:50 p.m., $5. Those adept at flipping the bird may discover an easy crossover into the dexterous world of pinball. Vitus hosts a tournament chock-full of raffle prizes.

A Negotiated Landscape discussion University Press Books, 2430 Bancroft, Berk. www.universitypressbooks.com. 6-7:30 p.m., free. Urban studies professor Jasper Rubin follows and examines the political wranglings over the San Francisco waterfront in his latest book, detailing grassroots activism against major development projects.

Stand-up comedy showcase Bazaar Cafe, 5927 California, SF. (415) 831-5620, www.dannydechi.com. 7 p.m., free. Bizarro winter germs got you feeling a little under-the-fog-cover? Head out to this yuckfest, featuring Danny Dechi and a passel of his funny buddies: Jill Bourque, Dhaya Lakshminarayanan, Mike Capozzola, and Rebecca Arthur, to name a few.

THURSDAY 19

Inside Story Time Café Royale, 800 Post, SF. www.caferoyale-sf.com. 6:30-8:30 p.m., $3-5. Local authors doing readings that match tonight’s theme, “aspirations.” Hopeful readings, at that.

Eric Shanower’s Road to Oz Cartoon Art Museum, 655 Mission, SF. www.cartoonart.org. 7-9 p.m., $5 suggested donation. Accomplished cartoonist Eric Shanower has made it his life’s work to convert L. Frank Baum’s Oz books into Marvel Comics graphic novels. He details his journey down his own yellow brick road as a struggling artist.

FRIDAY 20

Fullmetal Alchemist: the Sacred Star of Milos screening Film Society Cinema, 1746 Post, SF. www.sffs.org. 2, 4:30, 7, 9:15 p.m. $9-11. The latest installment in an anime series which explores Europe’s industrial revolution, alchemy, and popular resistance comes to the SF Film Society.

SF Dump artist-in-residency art opening Environmental Learning Center Gallery, 503 Tunnel, SF. www.recologysf.com. 5-9 p.m., free; Also Sat/21 1-5 p.m., free. There can be no cooler artist-in-residency program than that of Recology, which sets up its creative types to craft art from the detritus found in the dump itself. Great works have sprung from this collaboration, and this weekend Ethan Estess, Donna Anderson, and Terry Berlier will surely add to that canon.

SATURDAY 21

Gina Osterloh lecture Yerba Buena Center for the Arts, 701 Mission, SF. www.ybca.org. 2-4 p.m., $7. Osterloh’s latest work Anonymous Front, created in conjunction with a massage therapy school for the blind in the Philippines, explores blindness and identity with eye-deceiving photographs.

Ikebana demonstration Ortega Branch Library, 3223 Ortega, SF. www.sfpl.org. 2 p.m., free. Chizuko Nakamura gently coaxes flowers into sophisticated submission in a demonstration of the traditional Japanese arranging art.

Kulinarya: A Filipino culinary showdown Carnelian by the Bay, 1 Ferry Plaza, SF. www.kulinarya2.eventbrite.com. 4 p.m., free. Featuring a cornucopia of Filipino edibles and goods, this second annual event showcases the pili nut, which according to one expert is pretty much the next macadamia.

SUNDAY 22

Seasonal plant sale Hayes Valley Farm, 450 Laguna, SF. www.hayesvalleyfarm.com. Noon-5 p.m., free. Windowbox chard beats out the six-dollar variety any day. Hayes Valley Farm provides sturdy seedlings, hardy fruit trees (including pluots!), and those ever-prolific seedbombs, perfect for those whose personal green space is constrained to a crack in the sidewalk.

MONDAY 23

Ben Ehrenreich and Robert Arellano reading The Booksmith, 1644 Haight, SF. www.booksmith.com. 7:30 p.m., free. Ehrenreich’s dystopian novel Ether has been likened to “Bambi directed by Quentin Tarantino,” while Arellano’s Curse the Names is the story of an apocalypse-to-be deep in the Sangre de Cristo Mountains.

TUESDAY 24

“The Language of Flowers” lecture San Francisco Library, 100 Larkin, SF. www.sfpl.org. 6 p.m., free. Never send an ill-timed chrysanthemum again! Author Vanessa Diffenbaugh is doing a reading from her new book about the Victorian art of figuring out what severed dead blooms can say about you and the object of your affection.

Chem Dawg to the rescue

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caitlin@sfbg.com

HERBWISE The Kings of Destruction, more popularly known as KOD, were an hour and a half late for our interview. Being that the hip-hop-graff-clothing-medical-marijuana-advocacy collective is from the East Bay and we had arranged to meet at the Guardian Potrero Hill office, I figured I’d better look for them.

I didn’t have to go far: all five of the group’s members who had stopped by were sitting amid SF political activists in the Guardian conference room, mistakenly ensconced in a discussion of the new supervisoral district lines. They’d introduced themselves along with everyone else, but then faltered when the meeting’s facilitator asked to what he owed the pleasure of having Oakland residents at the table.

All good. Soon enough I have Dogz One, Lil’ Zane, Josh, Tase 1, and Don Juan assembled on the roof standing around a picnic table and talking about marijuana. They’ve brought some of their products for show ‘n’ tell; t-shirts emblazoned with characters culled from local marijuana strains. They’ve brought Grape Ape, a gorilla pulling on a joint with a purple berry-emblazoned baseball hat. Another shirt features Chem Dawg, a husky that figures in an upcoming KOD comic book in which the character (Dogz One is his alter-ego) will fight the government’s attempts to keep marijuana from the people. Pending designs include Girl Scouts Cookies, which will feature a woman wearing a midriff-bearing scout uniform in honor of the SF-specific strain rumored to smell of pastries (those buds available locally at the Green Door dispensary).

Kings of Destruction started out as a graffiti crew, and though members still throw up pieces on walls occasionally (“go down around the train tracks, you’ll see some things,” counsels Don Juan) now its focus is on — state — legal activities: music, clothing, and the catalyst for this interview, advocating for medical marijuana. Though I’m unable to hear samples of the tracks before press time, the group tells me members have been in the studio laying down tracks about their medicine, and they hope to join this spring’s Prohibition Tour (www.prohibitiontour.com), a California college event series that plans to raise awareness among students this spring with lectures and musical performances.

“Oakland has been on the forefront of the medical marijuana movement, so we’re trying to keep everything alive so that everyone can keep their medicine,” says Don Juan. Many in the group are patients and growers themselves who naturally find themselves in the activist role around friends and family who don’t use weed.

KOD sees marijuana as a healthy alternative to pharmaceuticals — many of which have adversely affected friends’ lives in their East Bay community. A prime example is bo, as the promethazine-codeine cough syrup that figures prominently in Bay Area hip-hop these days is popularly called. Compared to the dangers of that kind of drug, KOD members say, the federal government’s resistance to legalizing marijuana seems foolish. Not that there aren’t side effects of marijuana: “You might get a little hungry, might go to sleep,” says Don Juan. “You might just lay back instead of getting mad when somebody cusses you out,” adds Tase 1.

In closing, I ask KOD to tell me a story about the group and marijuana. They give each other looks and chuckle. Finally Tase 1 steps up to the plate. “One time, we were going to do something bad. And then we smoked some weed.” 

Find KOD clothing at www.kronicoverdose.com

 

Editor’s notes

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tredmond@sfbg.com

When I was working on my college paper, the vice-president for academic affairs, a rather serious man named William Brennan, delivered a lecture on some obscure topic to a group of, I think, economic majors, and somehow, a Wesleyan Argus reporter was there to cover it. The young journalist gave a fair rendition of the event, and the headline an editor wrote was about the most accurate thing I’ve ever seen in a newspaper. It read:

“Brennan bores small crowd.”

The New York Times, which never runs headlines like that, is having an internal debate over — seriously — whether its reporters should be free to tell the truth.

That’s right: The Public Editor, Arthur S. Brisbane, asked in his Jan. 12 column whether “reporters should challenge ‘facts’ that are asserted by newsmakers they write about.”

In other words, if the president tells an obvious, outright lie, should the Times point that out — or just repeat his inaccurate statement as fact, since in fact the president said it?

Should newspaper reporters be reporters, or stenographers?

It’s so silly, but it reminds me of what’s always annoyed me about the skilled, highly trained and often brilliant staff people at the Times: They’re not allowed to tell the truth.

After just about every press conference on the War in Iraq, for example, I would have written:

“President Bush lied to the public again today, noting — in direct contrast to the evidence on the ground — that the war is going well and that the invasion had nothing to do with oil.”

I know the Times would never go that far, but Brisbane actually had to ask:

“On the campaign trail, Mitt Romney often says President Obama has made speeches ‘apologizing for America,’ a phrase to which Paul Krugman objected in a Dec. 23 column, arguing that politics has advanced to the ‘post-truth’ stage.

“As an Op-Ed columnist, Mr. Krugman clearly has the freedom to call out what he thinks is a lie. My question for readers is: should news reporters do the same?”

Huh? Should reporters be able to report that the likely Republican candidate for president is making stuff up that he knows or ought to know has no basis in factual reality? Is that something the voters need to know?

And the big papers wonder why they’re losing readers.

Occupy Nation

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news@sfbg.com

The Occupy movement that spread across the country last fall has already changed the national discussion: It’s brought attention to the serious, systemic problem of gross inequities of wealth and power and the mass hardships that have resulted from that imbalance.

Occupy put a new paradigm in the political debate — the 1 percent is exploiting the 99 percent — and it’s tapping the energy and imagination of a new generation of activists.

When Adbusters magazine first proposed the idea of occupying Wall Street last summer, kicking off on Sept. 17, it called for a focus on how money was corrupting the political system. “Democracy not Corporatocracy,” the magazine declared — but that focus quickly broadened to encompass related issues ranging from foreclosures and the housing crisis to self-dealing financiers and industrialists who take ever more profits but provide fewer jobs to the ways that poor and disenfranchised people suffer disproportionately in this economic system.

It was a primal scream, sounded most strongly by young people who decided it was time to fight for their future. The participants have used the prompt to create a movement that drew from all walks of life: recent college graduates and the homeless, labor leaders and anarchists, communities of colors and old hippies, returning soldiers and business people. They’re voicing a wide variety of concerns and issues, but they share a common interest in empowering the average person, challenging the status quo, and demanding economic justice.

We chronicled and actively supported the Occupy movement from its early days through its repeated expulsions from public plazas by police, particularly in San Francisco, Oakland, and Berkeley. We supported the right of the protesters to remain — even as we understood they couldn’t and shouldn’t simply stay forever. Occupy needed to evolve if it was to hold the public’s interest. The movement would ultimately morph into something else.

That time has come. This spring, Occupy is poised to return as a mass movement — and there’s no shortage of energy or ideas about what comes next. Countless activists have proposed occupying foreclosed homes, shutting down ports and blocking business in bank lobbies. Those all have merit. But if the movement is going to challenge the hegemony of the 1 percent, it will involve moving onto a larger stage and coming together around bold ideas — like a national convention in Washington, D.C. to write new rules for the nation’s political and economic systems.

Imagine thousands of Occupy activists spending the spring drafting Constitutional amendments — for example, to end corporate personhood and repeal the Citizens United decision that gave corporations unlimited ability to influence elections — and a broader platform for deep and lasting change in the United States.

Imagine a broad-based discussion — in meetings and on the web — to develop a platform for economic justice, a set of ideas that could range from self-sustaining community economics to profound changes in the way America is governed.

Imagine thousands of activists crossing the country in caravans, occupying public space in cities along the way, and winding up with a convention in Washington, D.C.

Imagine organizing a week of activities — not just political meetings but parties and cultural events — to make Occupy the center of the nation’s attention and an inspiring example for an international audience.

Imagine ending with a massive mobilization that brings hundreds of thousands of people to the nation’s capitol — and into the movement.

Occupy activists are already having discussions about some of these concepts (see sidebar). Thousands of activists are already converging on D.C. right now for the Occupy Congress, one of many projects that the movement can build on.

 

DEFINING MOMENTS

Mass social movements of the 20th Century often had defining moments — the S.F. General Strike of 1934; the Bonus Army’s occupation of Washington D.C.; the Freedom Rides, bus boycotts and Rev. Martin Luther King Jr.’s March on Washington; Earth Day 1970; the Vietnam War teach-ins and moratoriums. None of those movements were politically monolithic; all of them had internal conflicts over tactics and strategies.

But they came together in ways that made a political statement, created long-term organizing efforts, and led to significant reforms. Occupy can do the same — and more. At a time of historic inequities in wealth and power, when the rich and the right wing are stealing the future of generations of Americans, the potential for real change is enormous.

If something’s going to happen this spring and summer, the planning should get under way now.

A convention could begin in late June, in Washington D.C. — with the goal of ratifying on the Fourth of July a platform document that presents the movement’s positions, principles, and demands. Occupy groups from around the country would endorse the idea in their General Assemblies, according to procedures that they have already established and refined through the fall, and make it their own.

This winter and spring, activists would develop and hone the various proposals that would be considered at the convention and the procedures for adopting them. They could develop regional working groups or use online tools to broadly crowd-source solutions, like the people of Iceland did last year when they wrote a new constitution for that country. They would build support for ideas to meet the convention’s high-bar for its platform, probably the 90 percent threshold that many Occupy groups have adopted for taking action.

Whatever form that document takes, the exercise would unite the movement around a specific, achievable goal and give it something that it has lacked so far: an agenda and set of demands on the existing system — and a set of alternative approaches to politics.

While it might contain a multitude of issues and solutions to the complicated problems we face, it would represent the simple premise our nation was founded on: the people’s right to create a government of their choosing.

There’s already an Occupy group planning a convention in Philadelphia that weekend, and there’s a lot of symbolic value to the day. After all, on another July 4th long ago, a group of people met in Philly to draft a document called the Declaration of Independence that said, among other things, that “governments … deriv[e] their just powers from the consent of the governed … [and] whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness.”

 

ON THE ROAD

If the date is right and the organizing effort is effective, there’s no reason that Occupy couldn’t get close to a million people into the nation’s capital for an economic justice march and rally.

That, combined with teach-ins, events and days of action across the country, could kick off a new stage of a movement that has the greatest potential in a generation or more to change the direction of American politics.

Creating a platform for constitutional and political reform is perhaps even more important than the final product. In other words, the journey is even more important than the destination — and when we say journey, we mean that literally.

Occupy groups from around the country could travel together in zig-zagging paths to the Capitol, stopping and rallying in — indeed, Occupying! — every major city in the country along the way.

It could begin a week or more before the conference, along the coasts and the northern and southern borders: San Francisco and Savannah, Los Angeles and New York City, Seattle and Miami, Chicago and El Paso, Billings and New Orleans — Portland, Oregon and Portland, Maine.

At each stop, participants would gather in that city’s central plaza or another significant area with their tents and supplies, stage a rally and general assembly, and peacefully occupy for a night. Then they would break camp in the morning, travel to the next city, and do it all over again.

Along the way, the movement would attract international media attention and new participants. The caravans could also begin the work of writing the convention platform, dividing the many tasks up into regional working groups that could work on solutions and new structures in the encampments or on the road.

At each stop, the caravan would assert the right to assemble for the night at the place of its choosing, without seeking permits or submitting to any higher authorities. And at the end of that journey, the various caravans could converge on the National Mall in Washington D.C., set up a massive tent city with infrastructure needed to maintain it for a week or so, and assert the right to stay there until the job was done.

The final document would probably need to be hammered out in a convention hall with delegates from each of the participating cities, and those delegates could confer with their constituencies according to whatever procedures they prescribe. This and many of the details — from how to respond to police crackdowns to consulting of experts to the specific scope and procedures of this democratic exercise — would need to be developed over the spring.

But the Occupy movement has already started this conversation and developed the mechanisms for self-governance. It may be messy and contentious and probably even seem doomed at times, but that’s always the case with grassroots organizations that lack top-down structures.

Proposals will range from the eminently reasonable (asking Congress to end corporate personhood) to the seemingly crazy (rewriting the entire U.S. Constitution). But an Occupy platform will have value no matter what it says. We’re not fond of quoting Milton Friedman, the late right-wing economist, but he had a remarkable statement about the value of bold ideas:

“It is worth discussing radical changes, not in the expectation that they will be adopted promptly, but for two other reasons. One is to construct an ideal goal, so that incremental changes can be judged by whether they move the institutional structure toward or away from that ideal. The other reason is very different. It is so that if a crisis requiring or facilitating radical change does arrive, alternatives will be available that have been carefully developed and fully explored.”

After the delegates in the convention hall have approved the document, they could present it to the larger encampment — and use it as the basis for a massive rally on the final day. Then the occupiers can go back home — where the real work will begin.

Because Occupy will wind up spawning dozens, hundreds of local and national organizations — small and large, working on urban issues and state issues and national and international issues.

 

WASHINGTON’S BEEN OCCUPIED BEFORE

The history of social movements in this country offers some important lessons for Occupy.

The notion of direct action — of in-your-face demonstrations designed to force injustice onto the national stage, sometimes involving occupying public space — has long been a part of protest politics in this country. In fact, in the depth of the Great Depression, more than 40,000 former soldiers occupied a marsh on the edge of Washington D.C., created a self-sustaining campground, and demanded that bonus money promised at the end of World War I be paid out immediately.

The so-called Bonus Army attracted tremendous national attention before General Douglas Macarthur, assisted by Major George Patton and Major Dwight Eisenhower, used active-duty troops to roust the occupiers.

The Freedom Rides of the early 1960s showed the spirit of independence and democratic direct action. Raymond Arsenault, a professor at the University of South Florida, brilliantly outlines the story of the early civil rights actions in a 2007 Oxford University Press book (Freedom Rides: 1961 and the Struggle for Racial Justice) that became a national phenomenon when Oprah Winfrey devoted a show and a substantial online exhibition to it.

Arsenault notes that the rides were not popular with what was then the mainstream of the civil rights movement — no less a leader than Thurgood Marshall thought the idea of a mixed group of black and white people riding buses together through the deep south was dangerous and could lead to a political backlash. The riders were denounced as “agitators” and initially were isolated.

The first freedom ride, in May, 1961, left Washington D.C. but never reached its destination of New Orleans; the bus was surrounded by angry mobs in Birmingham, Alabama, and the drivers refused to continue.

But soon other rides rose up spontaneously, and in the end there were more than 60, with 430 riders. Writes Arsenault:

“Deliberately provoking a crisis of authority, the Riders challenged Federal officials to enforce the law and uphold the constitutional right to travel without being subjected to degrading and humiliating racial restrictions … None of the obstacles placed in their path—not widespread censure, not political and financial pressure, not arrest and imprisonment, not even the threat of death—seemed to weaken their commitment to nonviolent struggle. On the contrary, the hardships and suffering imposed upon them appeared to stiffen their resolve.”

The Occupy movement has already shown similar resolve — and the police batons, tear gas, pepper spray, and rubber bullets have only given the movement more energy and determination.

David S. Meyer, a professor at U.C. Irvine and an expert on the history of political movements, notes that the civil rights movement went in different directions after the freedom rides and the March on Washington. Some wanted to continue direct action; some wanted to continue the fight in the court system and push Congress to adopt civil rights laws; some thought the best tactic was to work to elect African Americans to local, state and federal office.

Actually, all of those things were necessary — and Occupy will need to work on a multitude of levels, too, and with a diversity of tactics.

Single-day events have had an impact, too. Earth Day, 1970, was probably the largest single demonstration of the era — in part because it was so decentralized. A national organization designed events in some cities — but hundreds of other environmentalists took the opportunity to do their own actions, some involving disrupting the operations of polluters. The outcome wasn’t a national platform but the birth of dozens of new organizations, some of which are still around today.

There’s an unavoidable dilemma here for this wonderfully anarchic movement: The larger it gets, the more it develops the ability to demand and win reforms, the more it will need structure and organization. And the more that happens, the further Occupy will move from its original leaderless experiment in true grassroots democracy.

But these are the problems a movement wants to have — dealing with growth and expanding influence is a lot more pleasant than realizing (as a lot of traditional progressive political groups have) that you aren’t getting anywhere.

All of the discussions around the next step for Occupy are taking place in the context of a presidential election that will also likely change the makeup of Congress. That’s an opportunity — and a challenge. As Meyer notes, “social movements often dissipate in election years, when money and energy goes into electoral campaigns.” At the same time, Occupy has already influenced the national debate — and that can continue through the election season, even if (as is likely) neither of the major party candidates is talking seriously about economic justice.

That’s why a formal platform could be so useful — candidates from President Obama to members or Congress can be presented with the proposals, and judged on their response.

Some of the Occupy groups are talking about creating a third political party — a daunting task, but certainly worth discussion.

But the important thing is to let this genie out of the bottle, to move Occupy into the next level of politics, to use a convention, rally, and national event to reassert the power of the people to control our political and economic institutions — and to change or abolish them as we see fit.

OCCUPY AMERICA IS ALREADY UNDERWAY

All across the country, Occupy organizers are developing and implementing creative ways to connect and come together, many of which we drew from for our proposal. We hope all of these people will build on each other’s ideas, work together, and harness their power.

From invading the halls of Congress to “occutripping” road trips to ballot initiatives, here is a list of groups already working on ways to Occupy America:

 

OCCUPY CONGRESS

Occupy Congress is an effort to bring people from around the country — and, in many cases, from around the world — to Washington DC on Jan. 17. The idea is to “bring the message of Occupy to the doorstep of the capital.” The day’s planned events include a “multi-occupation general assembly,” as well as teach-ins, idea sharing, open mics, and a protest in front of the Capitol building.

A huge network of transportation sharing was formed around Occupy Congress, with a busy Ridebuzz ridesharing online bulletin board, and several Occupy camps organizing buses all around the country, as well as in Montreal and Quebec.

There are still two Occupy tent cities in DC, the Occupy DC encampment at McPherson Square and an occupation called Freedom Plaza, just blocks from the White House. Both will be accepting hundreds of new occupiers for the event, although a poster on the Occupy Congress website warns that “the McPherson Square Park Service will be enforcing a 500 person limit.”

www.occupyyourcongress.info

 

OCCUPY BUS

The Occupy Bus service was set up for Occupy Congress, but organizers say if the idea works out, it can grow and repeat for other national Occupy calls to action. They have set up buses leaving from 60 cities in 28 U.S. states as well as Canada’s Quebec province. The buses are free to those who can’t afford to pay, and for those who pay, all profits will be donated to Occupy DC camps.

If all goes to plan, buses will be packed with passengers, their gear, and bigger donations for the event, as the “undercarriages of a bus are voluminous.” What gear do they expect each occupier to bring? “One large bag, one small bag, and a tent.”

congress.occupybus.com

 

DENVER OCCUTRIP

Many occupations have put together car and busloads of people to road trip to other occupations, hoping to learn, teach, network, and connect the movement across geographic barriers. One example is the Denver Occutrip, in which a handful of protesters toured West Coast occupations. The tenacious Occupy Denver recently made headlines when, rather than allow police to easily dismantle their encampment, a couple of occupiers set the camp on fire. It sent delegates to Occupations in Las Vegas, Los Angeles, Long Beach, Oakland, San Francisco, Berkeley, and Sacramento.

Sean Valdez, one of the participants, said the trip was important to “get the full story. What I’d been told by the media was that Occupy Oakland was pretty much dead, but we got there and saw there are still tons of dedicated, organized people working on it. It was important to see it with our own eyes, and gave a lot of hope for Occupy.”

Like lots of road-tripping Occupiers, they made it to Oakland for the Dec. 12 West Coast Port Shutdown action there. In fact, “occutrippers” from all around the country have flocked to Bay Area occupations in general, and especially the uniquely radical Occupy Oakland.

www.occupydenver.org/denver-occutrip-road-trip/

 

OCCUPY THE CONSTITUTION

An Occupy Wall Street offshoot — Constitution Working Group, Occupy the Constitution — argues that many of the Occupy movements concerns stem from violations of the constitution. They hope to address this with several petitions on issues such as corporate bailouts, war powers, public education, and the Federal Reserve bank. The group hopes to get signatures from 3-5 percent of the United States population before the list of petitions is “formally served to the appropriate elected officials.”

www.givemeliberty.org/occupy

 

THE 99% DECLARATION

This is a super-patriotic take on the Occupy movement, described on its website as an “effort run solely by the energy of volunteers who care about our great country and want to bring it back to its GLORY.” The group’s detailed plan includes holding nationwide elections on the weekend of March 30 to choose two delegates from “each of the 435 congressional districts plus Washington, D.C. and the U.S. Territories.”

These delegates would write up lists of grievances with the help of their Occupy constituents, then convene on July 4, 2012 in Philadelphia for a National General Assembly. They plan to present a unified list of grievances to Congress, the President, and the Supreme Court. If the grievances are not addressed, they would “reconvene to organize a new grassroots campaign for political candidates who publicly pledge to redress the grievances. These candidates will seek election for all open Congressional seats in the mid-term election of 2014 and in the elections of 2016 and 2018.”

www.the-99-declaration.org/

 

MOVE TO AMEND/OCCUPY THE COURTS

Move to Amend is a coalition focusing on one of the Occupy movement’s main concerns: corporate personhood. The group hopes to overturn the Citizens United vs. Federal Elections Commission ruling and “amend our Constitution to firmly establish that money is not speech, and that human beings, not corporations, are persons entitled to constitutional rights.”

The group has drafted a petition, signed so far by more than 150,000 people, and established chapters across the country. Its next big step is a national day of action called Occupy the Courts on Jan. 20. On the anniversary of the Citizens United ruling, the group plans to “Occupy the US Supreme Court” and hold solidarity occupations in federal courts around the country.

www.movetoamend.org/

 

THE OCCUPY CARAVAN

The Occupy Caravan idea originated at Occupy Wall Street, but the group has been coordinating with occupations across the country. If all goes according to plan, a caravan of RVs, cars, and buses will leave Los Angeles in April and take a trip through the South to 16 different Occupations before ending up in Washington DC.

Buddy, one of the organizers, tells us that the group already has “a commitment right now of 10 to 11 RVs, scores of vehicles, and a bio-diesel green machine bus. This caravan will visit cities, encircle city halls, and visit the local Occupy groups to assert their presence, and move on to the next, not stopping for long in each destination.”

This caravan is all about the journey, calling itself a “civil rights vacation with friends and family” and planning to gather “more RVs, more cars, more supporters…and more LOVE” along the way.

occupycaravan.webs.com

OCCUPY WALL STREET WEST

The Occupy movement in San Francisco has been relatively quiet for the past few weeks, but it’s planning to reemerge with a bang on Jan. 20, with an all-day, multi-event rally and march that aims to shut down the Financial District.

The protest is an effort to bring attention to banks’ complicity in the housing crisis plaguing the United States, and how that process manifests itself here in San Francisco.

At least 20 events are planned, centered in the Financial District. The plans range from teach-ins at banks to “occupy the Civic Center playground” for kids to a planned building takeover where hundreds are expected to risk arrest. A list of planned events can be found at www.occupywallstwest.org/wordpress/?page_id=74.

The day is presented by the Occupy SF Housing Coalition, which includes 10 housing rights and homeless advocacy groups. Dozens of other organizations will be involved in demonstrations throughout the day. “We’re asking the banks to start doing the right thing,” said Gene Doherty, a media spokesperson for the Occupy SF Housing Coalition. “No more foreclosures and evictions for profits. On the 20th, we will bring this message to the headquarters of those banks.”

 

 

Event marks the one-year anniversary of the KUSF shutdown

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Tomorrow marks the one-year anniversary of the secret three-way deal between media conglomerate Entercom and the University of Southern California, whereby the University of San Francisco entered into a contract to sell the KUSF 90.3 FM license to the detriment of the local community.

The sale was announced on Tuesday, January 18, 2011, when the station was abruptly shut down.

Join the protest in front of Entercom in the morning, and then attend the evening event with speakers, DJs, and who knows what else? Just be there.

Listen to KUSF in Exile for up to date info about the event here.

Wednesday, January 18 | Protest from 10-11am @ Entercom, 201 Third St., SF | WIX Lounge event from 7-10pm @ 3169 22nd St., SF

 

 

“Toto, I don’t think we’re in Kansas anymore”: Good Vibrations’ company leaders on getting big

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What will be the San Francisco-in-the-aughtteens equivalent of the creation of Good Vibrations in the Mission District in 1977? Let’s hope some fresh new sexuality invention is fomenting that will be rocking our beds in three decades with the robustness that Good Vibes has shown. From that initial single location, the well-lit place for women to shop for vibrators has expanded to encompass not only six brick-and-mortar shops (five in the Bay Area, one in Massachusetts) — but also a robust online business that has taken the original founders’ dreams of teaching America how to have safer, better sex and made it a reality. In 2007, the one-time worker-owned co-op turned corporation was sold to GVA-TWN, a Cleveland, Ohio sex toy company. 

But the engineers behind the Good Vibes brand say it hasn’t stopped growing. Last week, on the occasion of the brand’s new branch opening (on Lakeshore Avenue in Oakland Jan. 28, details below) the Guardian conducted email interviews with the company’s chief operating officer Jackie Strano and staff sexologist Carol Queen. The woman waxed pleasurably — dammit, now everything is sounding dirty — on the company’s possible digital education programs of the future, Carol Queen shared her views on a future with a Good Vibes location in every American city, plus we reveal what the hell a SESA is, and how it can help improve your orgasms.

 

San Francisco Bay Guardian: Good Vibrations’ store locations have been growing in leaps and bounds recently. Have online sales been burgeoning at an equal rate?

Jackie Strano, chief operating officer: We are up in double-digit percentages and are grateful for our loyal and fabulous customers. It’s a good place to be after some hard and lean years. We have been committed to keeping expenses down and making the company healthy again. We are still here 35 years later and have learned some hard lessons along the way. We’re grateful for everyone who visits goodvibes.com and who writes and yelps about us. We have always relied on grass roots word of mouth and are proud that our stellar reputation is still intact.

Carol Queen, staff sexologist: We also have always known how significant it is to people to have access to a live experience in one of our brick-and-mortar stores. This is the context within which the Good Vibrations difference was developed, and it really does matter to people when they can see and touch the products, leaf through the books, and talk to a Sex Educator Sales Associate (SESA).

 

SFBG: What is the company’s vision of success? How big does it want to get? Are there going to be Good Vibes in Kansas someday?

CQ: If we were in Kansas, would Dorothy have to stop saying “Toto, I don’t think we’re in Kansas anymore?” Actually, there has been a faction since co-op days that wanted Good Vibrations to be everywhere — we devoted an entire annual planning meeting to this in about 1997! And we have certainly discussed the possibility of expanding into other regions. Success in that context would mean that people in a much wider range of the US would know about and have access to a Good Vibes store and that we would be able to influence other cities with our values about sex education and culture, as we have in the Bay Area.

JS: Success is paying all your bills, making payroll, opening new stores, introducing new products, being the go-to source for reliable and accurate information on sexual health, and pushing out campaigns like our Ecorotic rating system. But success is also being agents for social change for 35 years and success to me is hearing from someone or meeting someone who says we helped change their life for the better. The original company vision was to have a store in every city so people would have access to a safe and welcoming space to learn more about sex and sexual health. This was before the Internet exploded and companies like Amazon ever existed. We have similar goals still, but overall success is staying solvent and profitable while we reach the masses and keep changing people’s lives for the better.

 

SFBG: Are there plans to expand the educational opportunities the company’s known for?

JS: Absolutely. We have been active in this arena over the last year, especially where we have sponsored college tours of certified sex educators and we are currently pursuing digital channels for our education department to be featured. We are the only company in our sector that employs two Ph.D.s on staff and we continue to train our staff with the program originated by us. We also partner with many bloggers, authors, and educators at large.

CQ: Wherever we expand, there will be educational programming; we will develop it hand-in-hand with the new area’s existing resources, and take advantage of the fact that many sex educators today travel widely to teach and offer workshops. Charlie Glickman, my colleague in the education department of GV, already does SESA trainings (our in-house staff sex-ed trainings) via webconferencing, so who knows, there may also be more virtual opportunities for education that we can develop.

 

SFBG: Do you still consider it a San Francisco company?

JS: Yes of course. We are proud of our roots here. Mind you we have been part of the greater Bay Area, including Berkeley and Oakland for decades but our headquarters are here. Our website serves the world and we have stores in Berkeley, Oakland, and Brookline, Massachusetts. We have partnered with many national organizations throughout the years but we are always involved in local communities of all genders, races, and classes here in the Bay Area, including San Francisco where we have four stores.

CQ: At our core, absolutely. We could only have been founded and grown in San Francisco.

 

SFBG: How has the way Good Vibes markets itself changed over the years?

JS: It’s interesting to look at old catalogs and marketing collateral because the message and logo hasn’t changed much at all, but the collateral and graphics change as we morphed from proprietary illustrations to branded photos and other campaigns depending upon what event we were sponsoring or what season we were calling out. As I said before, we have always relied on grassroots word-of-mouth and customer loyalty, and I think that social media helps translate that perfectly in this day and age. We have always marketed ourselves as the clean, well-lit, women-focused vibrator store where people feel safe and welcomed. We will never change our mantra that “pleasure is your birthright.” We may have an event called “Mommy’s Playdate,” as some of us get older and have kids (ha ha), and our newer stores have a more boutique imprint and overall feel — but we still just want to have fun and hope that people get that when they think of us. We are extremely pleased that things have gotten more mainstream around sexuality, and that sexual health and education are more accepted in the daily dialogue, but we are spoiled by being in some coastal cities and progressive areas. There is still a lot of work to do for everyone to feel safe and welcomed and we are tireless in our efforts to change the world and not just our own backyard.

CQ: We’re very much the same AND different when it comes to marketing. For the first 15 years or so of GV’s existence we did little beyond guerilla marketing — our fully-developed education program began as a way to get new people to enter the store. Then as now, our number one source of new customers is word-of-mouth, though we now have social networking to help boost that — [it’s not just] people bringing their Kansas cousin in to buy a Hitachi Magic Wand! That said, my own role at Good Vibrations developed to try to leverage editorial opportunities. We were the first company to offer a Ph.D. sexologist as a press commentator or expert, and by the end of the 1990s we were judiciously buying advertising in national publications, not just local ones. The other very-much-noticed change was when we began using photos, not just drawn graphics, in our ads and catalogs.

 

SFBG: Are there any product areas that the company would like to expand into? What about trans-oriented gear?

CQ: Well, we do have some trans-related products, especially for transmen — in fact, our wholesale division distributes packers (along with lots of vibrators and other toys) to other stores around the world. This has been the biggest in-house change lately, in fact — that we are taking charge of this part of the product line and marketing it to other companies, not just selling these items exclusively. I believe our next ideas for product development will involve the wealth of informational content we’ve developed over the years.

JS: Yes we are very keen on product development and bringing new offerings to market especially that are non-toxic and good for you. We carry a lot of products that are transgender-oriented and actually have a transgendered shopping guide on our web site. We were the first ones to do so, others have copied us now but we were the first. We also have a sex and gender policy we are very proud of that is built into the company handbook and culture. 

 

Good Vibrations’ Lakeshore store opening

Jan. 28 6-9 p.m., free

Good Vibrations

3219 Lakeshore, Oakl.

(510) 788-2389

www.goodvibes.com

How to celebrate MLK Jr. Day in the Bay

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Use your national day of service wisely —  jump in one of of the day’s volunteering fairs, take in a black history flick, catch some awe-inspiring youth spoken word, learn about colleges 

“In the Name of Love” MLK musical tribute

Mavis Staples, the Oakland Interfaith Gospel Choir, Youth Speaks (that group’s going to be busy! See below), and Oakland’s Children’s Community Choir occupy the deco wonderland of the Paramount for this stirring tribute to the great man’s work. Hyped as the only non-denominational musical tribute to MLK Jr. in Oakland, the program also features the presentation of humanitarian awards. 

Sun/15 7 p.m., $18 

Paramount Theatre

2025 Broadway, Oakl.

www.livingjazz.org


Freedom Trains

Planning on spending your MLK Day in the city? Every year, the Martin Luther King Jr. Association of Santa Clara sponsors the Freedom Trains so that everyone can afford to make it to the celebrations. Instead of paying $17.50 for a round-trip ticket on Caltrain, today it’s just $10 – and you’ll be treated to in-route presentations on the importance of the civil rights movement in our lives. 

Mon/16, $10

Departs San Jose 9:30 a.m., arrives in San Francisco 10:55 a.m. (see website for stops in-between)

Rod Diridon train station

65 Cahill, San Jose

www.scvmlk.org

 

“Renewing the Dream” MLK Jr. birthday celebration

A health fair, a civil rights film festival, children’s reading celebration, interfaith commemoration, special presentations, and free entry to the Contemporary Jewish Museum, Museum of the African Diaspora, and Children’s Creativity Museum give you and yours plenty to do if you feel like spending your Monday in San Francisco’s (greener, sorry Union Square) living room. Down to attend? Check your local transportation agency for possible discounts to the event.

Mon/16 11 a.m.-5 p.m., free

Yerba Buena Gardens

Mission between Third and Fourth Sts., SF

www.norcalmlk.com

 

“What is Your Dream?” MLK Jr. day of service

Soak in the spirit of the day by spending it at MoAD. The regular museum offerings (currently featuring “Collected: Stories of Acquisition and Reclamation,” about the contributions of people of African descent to the American zeitgeist) will be free to the public, there will be screenings of MLK films and a documentary on a barber who turned into a civil rights leader during the 2008 elections, chalk drawings outside on the sidewalk, and vision boarding galore. But the day’s not just for remembering and dreaming – the Historically Black Colleges and Universities Fair will be providing concrete information on education for tomorrow’s march-leaders and soul-freers. 

Mon/16 11 a.m.-5 p.m., free

Museum of the African Diaspora

685 Mission, SF

(415) 358-7200

www.moadsf.org


Parks Conservancy’s MLK Jr. day of service

Let the Parks Conservancy plug you into a wildlife restoration project – you’re too late to sign up for restoring the gardens on Alcatraz, but there’s still time to help out at Crissy Field, Fort Baker, Muir Woods, Ocean Beach, and the Presidio. Contact volunteer@parksconservancy.org to reserve your spot. 

Mon/16 various times, free

Various locations, SF

(415) 561-3077

www.parksconservancy.org


MLK Jr. Day service fair

Spend your day off work (if you have it off work) with your family making a difference in the Bay Area. Organizers of this event have made it easy for you: choose from over 25 different projects from serving food at shelters, planting trees – even making toys and biscuits for homeless puppies and kitties. All ages welcome. 

Mon/16 7:30 a.m.-4 p.m., free

Oshman Family Jewish Community Center

3921 Fabian Way, Palo Alto

www.paloaltojcc.org


Piedmont’s annual MLK Jr. Day celebration

First: eating. All comers are invited to bring a dish that reflects their own cultural heritage to this lunchtime potluck at the Piedmont Community Center. Once those pressing matters have been tended: music. Oaktown Jazz will provide some lilting melodies, and Piedmont students will make presentations on the significance of the day. Capping off the festivities, the 1993 movie At the River I Stand, which revolves around the 1968 Memphis sanitation workers’ strike and concurrent assasination of King. 

Mon/16 noon-3 p.m.

Piedmont Community Center

777 Highland, Piedmont

(510) 420-1534

loiscorrin@gmail.com


“Bringing the Noise for Dr. Martin Luther King, Jr.” 

If you haven’t been to a Youth Speaks spoken word event, pack tissues and your future-seeing 3-D goggles – the young people that the organization gives an opportunity to perform are the truth. On no other day of the year should this be more evident, because these kids are all about having a dream. Today’s event brings performers to the stage who have worked up pieces on what they’d like the future to bring, imbued as ever with the fire of Youth Speaks performances. Could there be a more relevant forum to attend on today’s holiday?

Mon/16 7 p.m., $16

Herbst Theatre

401 Van Ness, SF

(415) 621-6600

www.youthspeaks.org

 

 

“Martin Luther King Jr. Day Double Feature”

“All of us have something to say, but some are never heard” — Richard Pryor, Wattstax (1973). MLK Jr. Day calls into question how we remember the past. The Wattstax concert is sometimes recalled derivatively as “the black Woodstock.” But while soul music may have been the response, the event was put on by Stax Records to commemorate and come to terms with the seventh anniversary of the Watts Riots in LA, which challenged the limits of MLK Jr.’s nonviolent philosophy. As a double feature the Wattstax documentary will be shown with The Black Power Mixtape 1967-1975 (2011), a revelatory look at a movement’s era that sadly took the distance of continent and a few decades to make. 

Wattstax 3, 7p.m.; The Black Power Mixtape 4:55, 8:55 p.m., $7.50–$10

Castro Theatre

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

 


Martin Luther

It’s the second coming! Not really, no relation actually. But this R&B-funk crooner spins out tunes appropriately uplifting for this day of rememberance and looking forward. Bliss out, eyes closed, mind on the change you want to make, at this smoothed-out groovefest. 

Mon/16 8-9:30 p.m., $15

Yoshi’s

510 Embarcadero, Oakl.

(510) 238-9200

www.yoshis.com

Maximum Consumption: Vegan cookbook release party with live jazz at MOAD

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In a rather appetizing blend of vegan culinary skill and music, The Museum of the African Diaspora will soon play host to cookbook author Bryant Terry and a smattering of local musicians.

The event goes down Jan. 24 at the museum. It’s to commemorate and celebrate the release of Terry’s newest book, The Inspired Vegan: Seasonal Ingredients, Creative Recipes, Mouthwatering Menus, and, it’s Terry’s birthday party. He’s an Oakland-based eco-chef and food justice activist who was a Food and Society Policy Fellow with the W.K. Kellogg and Fair Food Foundations.

http://www.youtube.com/watch?v=dAH1dawfw70&feature=results_video&playnext=1&list=PL61B876749C0F605E

I know from first-hand experience the joy of Terry’s teaching, having devoured his 2009 book, Vegan Soul Kitchen. That book came with a soundtrack to each dish, a feature I dig in any cookbook but especially Vegan Soul Kitchen. My favorite meal was the open-faced barbecue tempeh sandwich with cayenne-carrot coleslaw. The crunchy-spice of the coleslaw on that rich barbecue protein is heavenly. It’s making me hungry just thinking about it.

And yes, I know what you’re thinking; there will indeed be seasonal, creative, and mouthwatering food at the party itself. The event features food by Roger Feely and Soul Cucina food truck with recipes from The Inspired Vegan and drink from Slow Down Wines.

http://www.youtube.com/watch?v=7OM2rmOdZzQ

Also worth the price of admission ($15-$30 by the way): an appearance by the finger-snapping jazz group the Marcus Shelby Trio, lead by award-winning composer and bassist Marcus Shelby, along with performances by Renee Wilson, and DJs Max Champ and Ellen Choy. 

Book Release and Birthday Party with Bryant Terry
Jan. 24, 7:30 p.m., $15-$30  (with signed book)
Museum of the African Diaspora
685 Mission, SF
(415) 358-7200
www.moadsf.org